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THE NATIVITY 
BY ALBRECHT DURER 


[NUMBER IIO] 


THE 


PRE DERIC R. HALSEY 
COLLECTION OF PRINTS 


PART VII 


OLD MASTERS 


AND MANY FAMOUS 


PORTRAIT ENGRAVERS 


OF THE 


XVIIth CENTURY 


TO BE SOLD 


WEDNESDAY, THURSDAY, AND FRIDAY EVENINGS 
MARCH 14, 15, AND 16, 1917 


AT 8:15 o’cLocK 


On Public Exhibition from March 7th 


THE ANDERSON GALLERIES 


MapDIsoNnN AVENUE AT FORTIETH STREET 
NEW YORK 


CONDITIONS OF SALE 


1. All bids to be PER LoT as numbered in the Catalogue. 


2. The highest bidder to be the buyer; in all cases of disputed bids 
the lot shall be resold, but the Auctioneer will use his judgment as to 
the good faith of all claims and his decision shall be final. He also 
reserves the right to reject any fractional or nominal bid which in hig 
judgment may delay or injuriously affect the sale. 

3. Buyers to give their names and addresses and to make such cash 
payments on account as may be required, in default of which the lots 
purchased to be resold immediately. 

4, The lots to be taken away at the buyer’s expense and risk within 
twenty-four hours from the conclusion of the sale, and the remainder of 
the purchase money to be absolutely paid on or before delivery, in default 
of which The Anderson Galleries, Incorporated, will not be responsible 
if the lot or lots be lost, stolen, damaged, or destroyed, but they will be 
left at the sole risk of the purchaser, and subject to storage charges. 

5. To prevent inaccuracy in delivery, and inconvenience in the settle- 
ment of purchases, no lot will be delivered during the sale. 


6. All lots will be exposed for public exhibition in The Anderson 
Galleries before the date of sale, for examination by intending pur- 
chasers, and The Anderson Galleries, Incorporated, will not be responsible 
for the correctness of the description, authenticity, genuineness, or. for 
any defect or fault in or concerning any lot, and makes no warranty 
whatever, but will sell each lot exactly as it is, WITHOUT RECOURSE. But 
upon receiving before the date of sale, expert opinion in writing that 
any lot is not as represented, The Anderson Galleries, Incorporated, will 
use every effort to furnish proof to the contrary, and in default of such 
proof the lot will be sold subject to the declaration of the aforesaid 
expert, he being liable to the owner or owners thereof for damage or 
injury occasioned by such declaration. 

7. Terms CasH. Upon failure to comply with the above conditions 
any sum deposited as part payment shall be forfeited, and all such lots 
as remain uncleared after twenty-four hours from the conclusion of the 
sale, will be resold by either private or public sale at such time as The 
Anderson Galleries, Incorporated, shall determine, without further notice, 
and if any deficiency arises from such re-sale it shall be made good by the 
defaulter at this sale together with all the expenses incurred thereby. 
This condition shall be without prejudice to the right of The Anderson 
Galleries, Incorporated, to enforce the contract with the buyer, without 
such re-sale. 

8. Brips. We make no charge for executing orders for our customers 
and use all bids competitively, buying at the lowest price permitted by 
other bids. 

9, The Anderson Galleries, Incorporated, will afford every facility for 
the employment of carriers and packers by the purchasers, but will not 
be responsible for any damage arising from the acts of such carriers and 
packers. 

Prints on Exhibition from March 7th. 


Priced Copy of this Catalogue may be secured for $1.50. 


The Anderson Galleries 


Incorporated, 


MADISON AVENUE AT FORTIETH STREET, NEW YORK. 
TELEPHONE, Murray HILL, 7680 


SALES CONDUCTED BY MR. FREDERICK A. CHAPMAN 


PREFACE 


The seventh division of Mr. Halsey’s great print collection 
consists of engravings by the Old Masters and by the many 
famous portrait engravers of the XVIIth Century. Among 
the prints of the highest interest to collectors are ‘‘ Christ 
Healing the Sick’’ and ‘‘ Christ before Pilate’’ by Rembrandt, 
the former a fine impression on heavy Japan paper of the 
second state and the latter a very brilliant impression of the 
third state of the large upright plate. Of equal rank are two’ 
by Durer, the ‘‘St. Hubert,’’ an impression of rare beauty, 
and ‘‘The Nativity,’’ a superb impression and of the greatest 
rarity in such fine condition. 


Wilham Faithorne, a celebrated English painter-engraver, 
is represented by many charming engravings, of which the 
best are ‘‘Catherine of Braganza,’’ ‘‘Henrietta Maria,’’ and 
‘*Oliver Cromwell.’’ All are engraved after his own designs, 
and the last is excessively rare. Antoine Masson, who worked 
in Paris at the same time and developed an immense skill, 
engraved many beautiful plates after Mignard, of which the 
most celebrated is ‘‘Guillaume de Brisacier,’’ otherwise known 
as ‘‘the gray-haired man.’’ Mr. Halsey’s copy is a superb 
impression of the first state, a proof before the name. Equal 
praise must be given to ‘‘Henri de Lorraine,’’ often called 
‘‘le cadet a la perle,’’ for it is a magnificent impression of 
one of Masson’s masterpieces. 


A number of interesting portraits are by Claude Mellan, 
who developed a singular method of engraving; Frans Huys 
is represented by two portraits, ‘‘Queen Mary”’ and ‘‘ Philip 
II,’’ which are highly esteemed ; the ‘‘ Return of the Prodigal’’ 


is one of the best of Van Leyden’s; Jean Morin is well repre- 
sented in this collection; Renold Elstrake, one of the earliest 
English engravers, is well known for his ‘‘Marie Queen of 
Scots’’; among the several splendid plates by Cornelis Visscher 
is ‘The Rat Catcher,’’ a magnificent impression, and high 
praise must be given to the engraving by Crispin van de Passe 
of Oliver’s portrait of Queen Elizabeth. 


‘‘The Great Standard Bearer’’ by Goltzius, ‘‘Philippe de 
Champaigne’’ and ‘‘Louis XIV”’ by Edelinck, ‘‘Henry IV”’ 
by Firens, and ‘‘Henriette de Balzac’’ by Wierix are of very 
high quality. The collection contains thirty-seven examples 
of the excellent work of Robert Nanteuil, one of the most 
distinguished of the early French engravers. ‘‘Pompone de 
Belliévre’’ after Le Brun, the portrait of Colbert after Cham- 
paigne, ‘‘Anne d’Autriche’’ after his own painting, and the 
four engravings of Louis XIV, all after his own designs, are 
his most celebrated productions. 


Pierre Drevet is represented by thirteen engravings, and 
among the best are the portraits of Jacques Fitz-James, 
Claude Louis Hector, and Helen Lambert, and three superb 
impressions of engravings after Rigaud—‘‘ Robert de Cotte,”’ 
‘‘Louis le Grand,’’ and ‘‘Louis Quinze.’’ Drevet’s son, Pierre 
Imbert Drevet, is represented by only three engravings in this 
collection, but they are masterpieces, of which the portrait of 
Bossuet is the most celebrated. 


This catalogue was prepared by Mr. Ferdinand Meder and 
Mr. Maurice Sloog. 


THE 


FREDERIC R. HALSEY 
COLLECTION OF PRINTS 


PART VII 


THE OLD MASTERS 


AND FAMOUS 


PORTRAIT ENGRAVERS OF THE XVIIth CENTURY 


FIRST SESSION 


Wednesday Evening, March 14, 1917, at 8:15 o’clock 
LOTS 1-173 


NOTE—The titles of the Prints and the places and dates of 
publication have been quoted in this Catalogue with exactness, 
and the errors in spelling and punctuation have been reproduced 
to facilitate collectors in making comparisons. 


CAREL ALLARD. 


A Dutch engraver and printseller, who was working in Amsterdam 
near the end of the 17th Century. 


1 LA VEUE—’T Gezicht. (Portraits of Louis XIV and 
M. de Montespan.) 

J- Line-engraving. [Six verses in Dutch; four verses in 
French.| Superb impression with the inscription. With 
margin showing the plate-mark. The print has been 
folded. 


JEAN JOSEPH BALECHOU. 


1715-1764. 
French painter-engraver, born in Arras. He was a pupil of Michel and 
Lépicié and worked in Paris, and in Avignon, where he died. 


2 AUGUSTE III ROI DE POLOGNE. 


Line-engraving after H. Rigaud. lLeblane No. 66. 

4 ures Third state. Superb impression with the inscription 
with the date ‘‘1750’’ after ‘‘Paris.’’ With small 
margin showing the plate-mark. In 314 inch walnut 
and gold frame. 


PETER VAN BALLIN. 
1614-? 
Painter-engraver born in Antwerp. He went to Rome, where he pro- 
duced several plates, but soon returned to his native country. 


3 ALBERT, PRINCE D’AREMBERG. 


Engraving after Antonie van Dyck. Leblane No. 29. 
First state: before the address of ‘‘Romboudt van de 
frase Velde’’ was added below the word ‘‘ Adques.’’ Very 
fine impression with small margin, lacking the plate- 
mark. A small tear at the bottom carefully repaired. 


HENDRICK BARY. 
1625-? 
Painter-engraver born in Antwerp about 1625. He became a pupil of 


C. Visscher and was working in Amsterdam and Gouda from 1659 to 
1670. 


4 MICHIEL DE RUYTER L. ADMIRAEL GENERAEL 
ETC. 
se Engraving after Ferdinand Bol. 1673. Very fine, 
brilliant impression with the inscription [six verses} 
but before Cl. de Jonghe’s address. With small margin, 
yw: lacking the plate-mark; worm holes at the bottom. 


NICOLAS BAZIN. 
1636-? 
Painter-engraver born in Troyes. He went to Paris, where he was 
working from 1684 to 1707, dealing at the same time in prints and 
drawings. 


5 FEMME DE QUALITE SORTANT DU LIT. 


Engraving after J. D. de St- Jean. Fine impression 
with margin trimmed to the engraved surface. The 
paar print has been folded in the center. 


6 


HANS SEBALD BEHAM. 
(One of the “Little Masters.”) 
1500-1550. 


Born in Niirnberg and the elder brother of Barthel Beham. It is not 
known who taught him the art of engraving but his work shows that 
he was a follower of Ditrer. He worked first in Niirnberg and in hig 
later years in Frankfort, where he died. ‘Through his activities during 
the Reformation ‘le got himself into trouble and he was repeatedly 
expelled from his native town. 


6 THE WEDDING FEAST AT CANA. 


[F — 


Painter-engraving. Bartsch No. 23. Pauli No. 25. 
First state. The deep shadow just behind the head of 
Christ is formed by two sets of lines only, one hori- 
zontal and one vertical. In the next state an oblique 
set of lines has been added. Very fine impression with 
a very small margin showing the plate-mark. 

From the Collection of F. Geissler (engraver in Paris). 


7 CHRIST AND THE SAMARITAN WOMAN. 


so—- 


Kapyot 


Painter-engraving. Bartsch No. 24. Pauli No. 26. 
First state. The lightest parts of the folds formed by 
the garment of Christ just above his left foot are 
covered with one set of oblique lines, while in the next 
state the entire fold is covered by the second set. Also 
the triangular shadow behind the heel of the woman is 
formed by two sets of lines only. Very fine, brilliant 
impression with a small margin, showing the plate- 
mark. 
From the Collection of F. Geissler (engraver in Paris). 


8 CHRIST AT THE HOUSE OF SIMON. 


jee 
mar 


Painter-engraving. Bartsch No. 25. Pauli No. 27. 
Second state. Through the windows a mountainous 
landscape is now to be seen, but the sleeve of the man 
seated furthest to the left is not yet checkered. Fine 
impression, closely trimmed. A small part of the right 
upper corner has been lost and is very skilfully re- 
placed. 


9 THE TWO COUPLES AND THE BUFFOON. 


ff 


Painter-engraving. Bartsch No. 212. Pauli No. 214. 
First state. The date in the centre near the upper 
edge is still lacking, the mouth of the woman seated 
on the right is open and the breeches of the man seated 
to the left are not slashed. Superb impression with 
small margin, showing the plate-mark. 


7 


10 THE ENGRAVERS’S COAT-OF-ARMS. 1544. 
Painter-engraving. Bartsch No.. 254. Pauli No. 265. 
Gin One state only. Splendid impression with large margin. 
5 Of such freshness as if it had left the press yesterday. 


Companion to No. 11. 


11 COAT-OF-ARMS WITH THE LION. 1544. 
Painter-engraving. Bartsch No. 255. Pauli No. 266. 
Second state. . The shadow of the deep fold of the 
/ ae cloth of gold ending above the ‘‘N’’ of the inscription 
has now a set of oblique lines in its full length. With 
v4* small margin, showing the plate-mark. Of the same 
quality as the foregoing. . 
Companion to No. 10. 


ABRAHAM BLOOTELING. 
1634-1695. 


Born in Amsterdam and a pupil of the great master, Cornelis Visscher. 
He distinguished himself both in line engraving and mezzotint; the 
latter he may have acquired from Furstenberg, as he engraved in line 
three portraits of that family. He went to England in 1673. 


12 LEOPOLDUS I. D. G. ELECTUS ROM: IMPERATOR 
SEMP: AUGUST: GERMANIA. HUNGARLA, 
eee BOHEMIA ETC. REX. 
Mezzotint after C. Morad. Leblane No. 83. Brilliant 
WY impression with the inscription. With small margin 
showing the plate-mark. 


13 HER HIGHNESS THE LADY ANN. 


nes Mezzotint after Sir Peter Lely. Leblane No. 84. Very 
fine and brilliant impression. With margin showing 


Mutt the plate-mark. 


14 CAROLUS II. DEI GRATIA ANGLIA SCOTIA 
FRANCIA ET HIBERNIAD REX. 


ju Mezzotint after Sir Peter Lely. Leblane No. 85. Very 
fine and brilliant impression with the inscription. With 


wr large margin. 


8 


145 CATHARINA D. G. MAGNA. BRITN. FRANC. ET 
HIBERNIAD REGINA FILIA JOANNIS IV. R. 
4- PORTUG. ETC. 
. Mezzotint after Sir Peter Lely. Leblane No. 89. Fine 
ale impression with the inscription. With margin showing 
the plate-mark. 


16 MARIA BEATRICE PRINCIPESSA DI MODANA, 
DUCHESSA DI YORK. 
‘s _ Mezzotint after Sir Peter Lely. Leblane No. 92. Fine 


Impression with the inscription. With margin showing 
m the plate-mark. 


17 MARIA. D. G. MAG. BRIT. FRANC. ET HIB. 
REGINA. &C. 
2 ee Mezzotint after the artist’s own design. Leblanc No. 95. 
Very fine impression with the inscription. With margin 
%,“”- trimmed to the plate-mark. The lower right corner 
repaired. 


18 THOMAS BELASYSE—LORD VISCOUNT FFAUCON- 
BERG. 
jo — Line-engraving after M. Beale. Leblanc No. 102. Fine 
impression with the inscription. With small margin 
lacking the plate-mark. The print has been folded on 
the left side. 


19 WOMAN PLAYING THE LUTE. (Wife of the painter 
Lairesse. ) 


4A —  Mezzotint after Gerard de Lairesse. Wessely No. 121. 
First state. Very fine and brilliant proof. With 
qd margin trimmed to the plate-mark. 


20 ADMIRL: IAN EVERTSZ. 
Line-engraving after H. Berckman. Leblanc No. 122. 


oa ue Fine impression with the inscription. With small 
margin showing the plate-mark. The print has been 
gr. folded. 


21 GOVAERT FLINCK. 


Line-engraving after P. Zyll. Leblanc No. 124. Fine 
j se impression with the inscription. With small margin 
showing the plate-mark. 


9 


22 FERDINAND, PRINCE DE FURSTENBERG. 


ae Line-engraving after T. Casparus. Leblane No. 128. 
3 Fine impression with the inscription. With small 
qr: margin lacking the plate-mark. 


23 JOHANN WILLEM’S GRAVESANDE. 


fe Mezzotint after J. Verkolje. Leblanc No. 130, first 
eae state. Proof before all letters. Very fine impression 
ony with margin showing the plate-mark. 


24 BARTHOLOMEUS VANDER HELST. 


Mezzotint after the artist’s own painting. Leblanc 
/ wh No. 134. Fine impression with the inscription. With 

margin trimmed to the plate-mark. A small strip of 
roe a the left edge has been lost and is cleverly replaced. 


25 CONSTANTIN HUYGENS, SEIGNEUR DE ZUY- 
LICHEM. 
Eth Mezzotint after Bernard Vaillant. Leblane No. 138. 
Very fine and brilliant impression with the inscription. 
With small margin showing the plate-mark. The lower 
right corner repaired. 


26 ANNE KILLIGREW. 


mm Mezzotint after her own painting. Leblanc No. 142. 
4 '. Fine and brilliant impression with the inscription. 
With margin showing the plate-mark. 


27 ANOTHER IMPRESSION OF THE SAME. 
_— i, s 
In the same state and condition. 


28 EGBERT MEESZ KORTENAER L. ADMIRAEL VAN 
HOLLANDT OVER HET QUARTIER VAN DE 

= MAES. 
wad Line-engraving after B. Van der Helst. Leblane No. 
Kapp 143. Second state; the misspelling ‘‘Ocianus’’ is cor- 
rected to ‘‘Oceanus.’’ Very fine impression with the 
inscription with small margin showing the plate-mark. 


29 ADMIRAEL AERT VAN NES. 


Line-engraving after L. de Jongh. lLeblane No. 156. 
Fine impression with the inscription. With small 
gy margin lacking the plate-mark. 


10 


i 


30 MARIA PRINCEPS AURIACA. 
re Mezzotint after Sir Peter Lely. Leblane No. 163. Bril- 


ae / liant impression with the inscription. The margin 
pat trimmed to the engraved surface. 


31 MICHEL ADRIAEN DE RUYTER. 


; Line-engraving after the artist’s own drawing. Le- 
oe, blane No. 172. Fine impression with the inscription. 
With small margin lacking the plate-mark. Two small 

worm holes in the middle of the coat. 


32 CORNELIS TROMP. 
Line-engraving after Sir Peter Lely. Leblane No. 191. 
ee Fine impression with the inscription. With margin 
ner showing the plate-mark. The lower corners have been 
cut off and are replaced. 


33 JOAN DE WIT. RAET. PENSIONARIS VAN HOL- 
LAND &C. 
ae Mezzotint after J. de Bane. Leblanc No. 198. Fine 
ope impression with the inscription. With margin showing 
the plate-mark. The print has been folded. 


34 CORNELIS DE WIT, RUWARD VAN DEN LANDE 
VAN PUTTEN &C. 
4 — Mezzotint after J. de Banc. Leblane No. 199. Impres- 
_ sion with the inscription. With small margin showing 
We’ the plate-mark. The print has been folded. 


35 PETRUS VAN DER HAGEN. fil, 
Mezzotint after Wallerant Vaillant. Impression with — 
4 lie the inscription; with untrimmed margin (deckel 
edges). 


BOETIUS ADAM A BOLSWERT. 
1580-1634(?). 
Line-engraver born in Bolswert (Friesland) and pupil of Cornelis 
Bloemaert. He practised his art in Antwerp, where he died. 


36 GUILLAUME LUDOVIC, COMTE DE NASSAU. 
Line-engraving after J. Mirevelde. Fine impression 
‘! os with the inscription. The margin trimmed closely to 
the engraved surface at the top and sides, at the bot- 
Www: tom the plate-mark is preserved. 


From the P. Mariette collection. 


El 


SCHELTE A BOLSWERT. 
1586-? 


Painter-engraver born in Bolswert (Friesland). He was a brother of 
Boetius Adam and, like him, worked in Antwerp. 


37 LA MARCHE DE SILENE. 
Line-engraving after A. Van Dyck. Leblane No. 191. 
ne Fine impression with the inscription. With small 
a margin showing the plate-mark. The publication line 
‘“Nicolas Lauwers,’’ etc., has been erased from the im- 
pression. 


38 LA VIERGE—L’ENFANT JESUS—ST. JEAN. 
Line-engraving after P. P. Rubens. An unusually 
strong counterproof published by G. Hendricx. With 
pac? the inscription and with small margin showing the 
plate-mark. 


39 LA RONDE. | 
Line-engraving after P. P. Rubens. Very fine proof 
b= with the artist’s and the publisher’s (G. Hendricx) 
names only. With margin showing the plate-mark. 


ABRAHAM BOSSE. : 
1605-1678. | 


Painter, architect, engraver and publisher. Born in Tours but soon 
went to Paris, where he engraved and published over 950 plates. 


Nine of the engravings by Bosse (No. 42-50) illustrate the 
customs and manners of the professions in Paris in the X VIIth 
Century and for that reason are highly esteemed by anti- 
quarians, historical writers, and illustrators. 


40 ALEXANDRE FRANCINI. 


Line-engraving after the artist’s own design. Leblane 
hace No. 483. Fine impression with the inscription. With 
margin showing the plate-mark. 


41 LE PRINTEMPS. 


Line-engraving after the artist’s own design. Leblanc 
us LEE No. 553. Very fine impression with the inscription. 
With margin trimmed to the engraved border. 


12 


42. LE SCULPTEUR DANS SON ATELIER. 
oo Line-engraving after the artist’s own design. Leblane 
3 No. 742. Very fine and brilliant impression with the 


see inscription. With small margin lacking the plate- 
: mark. 


43 GRAVEURS EN TAILLE DOUCE AU BURIN ET A 
107 L’EAU FORTE. 


Line-engraving after the artist’s own design. Leblanc 


fmf No. 744. Impression with the inscription. With small 
margin lacking the plate-mark. 


44 L’IMPRIMEUR EN TAILLE DOUCE. 


Line-engraving after the artist’s own design. Leblanc 
Pa No. 745. Very fine impression with the inscription. 
fool With margin trimmed to the engraved border. 


45 LE CHIRURGIEN. 


a Line-engraving after the artist’s own design. Leblane 
|s- No. 747. Very fine impression with the inscription. 
Oe dl With small margin lacking the plate-mark. 


46 LE CORDONNIER. 

jo Line-engraving after the artist’s own design. Leblanc 

— No. 748. In the same state and condition as the fore- 
going. 


Hy 


47 LE COIFFEUR. 


Line-engraving after the artist’s own design. Leblanc 
y No. 750. In the same state and condition as the fore- 
going. 


48 LE MEDECIN. 


Line-engraving after the artist’s own design. Leblane 
Se? No. 751. In the same state and condition as the fore- 


Oyen? going. 
q : : 
49 helo eae DE L’HOPITAL DE LA CHARITE 
DE PARIS. 


bali Line-engraving after the artist’s own design. Leblanc 
7 No. 752. Very fine impression. The margin trimmed 
mest to the engraved surface and lacking the inscription. 


13 


50 LE MARCHAND. 
are Line-engraving after the artist’s own design. Leblanc 
H No. 753. Very fine impression with the inscription 
and small margin lacking the plate-mark. 


51 LA VILLAGEOISE. 


Line-engraving after the artist’s own design. Fine 
2. ~~ impression with the inscription. With small margin 
trimmed to the plate-mark. 


JAN BROEDELET. 
1722. 
Dutch engraver born in Utrecht. He produced etchings and mezzotints. 


52 THE HURDY-GURDY PLAYER. 
Mezzotint after the artist’s own drawing. Very fine 
proof with the artist’s and printer’s names, but before 


nates - te 
the title. With small margin showing the plate-mark. 


JOHANN THEODOR DE BRY. 
1528-1598. 


Born at Liittich but worked most of his life in Frankfort, where he 
carried on the business of a print- and bookseller. His style is that of 
a little-master and he is considered to be a follower of H. S. Behan, if 
not his pupil. 


538 THE FOUNTAIN OF YOUTH. 


Line-engraving after H. 8. Beham. Andresen No. 7. 
jl Ateat@ With small margin, trimmed just at the plate-mark. 


JACQUES CALLOT. 
1592-1655. 


Celebrated French etcher and engraver born in Nancy. Pupil of 
Canta-Gallina. 


54 CLAUDE DERUET. 


Etching finished with the burin after the artist’s own 

lo — design. Meaume No. 505. Second state. Impression 

with the inscription and with ‘‘A Nancy 1632”’ after 

: ‘¢Callot fecit.’? With margin trimmed to the engraved 

Kipp surface at the top and sides, at the bottom it is trimmed 
closely to the plate-mark. 


14 


tt ei 


AGOSTINO CARRACCI. 
1557-1602. 


Italian painter-engraver, born in Bologna. Pupil of Dom. Tibaldi and 
Cornelis Cort. He died in Palermo. 


55 TITIANUS VECELLIUS. 


Painter-engraving. Bartsch No. 154. Leblane No. 244. 
“a hres First state; two lines of inscription at the bottom, but 
yp rnler before the name was added at the top. Very fine im- 
pression, the margin trimmed to the engraved border. 


LOUIS JACQUES CATHELIN. 
1739-1804. 


Line-engraver, born in Paris. He learned his art from T. P. LeBas 
and died in Paris. 


56 LOUIS LE BIEN AIME (Louis XV). 


Line-engraving after L. Michel Van Loo. Leblanc 

a] — No. 12. First state. Proof before all letters. Very 
fine impression with small margin lacking the plate- 
mark. 


CLAUDE CHARPIGNON. 


French engraver who was working in the middle of the 
XVIIth Century. 


57 DOMINIQUE SEGUIER. 


Line-engraving after the artist’s own design. Leblanc 
A a No. 12. Very fine proof before all letters. With mar- 
gin showing the plate-mark. 


MARCELLO CLODIO. 


Engraver and publisher who was living in Rome about 1588. 


58 PHILIPPE I, KING OF AUSTRIA AND SPAIN. 


Line-engraving after the artist’s own design. Very 
ii fine impression with the inscription. With margin 
trimmed to engraved border. 


15 


RICHARD COLLIN. 
1626-? 


Painter-engraver, born in Luxembourg. A pupil of J. Sandrart, 
who worked in Bruxelles and Antwerp. 


59 FRANCISCO ANTONIO DE AGURTO. 


Line-engraving after the artist’s own design. Fine im- 
ta ae pression with the inscription. With margin showing 
jp the plate-mark. The print had been folded. 


LOUIS COSSIN. 
1633-? 


French painter-engraver, born in Troyes, who was working in Paris. 


60 VALENTIN CONRART. 
Line-engraving after C. Lefevre. Leblane No. 10. 
iG: Trial proof before all letters and before the hands were 
gb : finished. Very fine impression, with margin showing 
r the plate-mark. The title is written in ink. 


61 JACQUES DE SOLEYSEL. 
Line-engraving after the artist’s own design. Leblanc 


i on No. 18. Very fine proof before the title but with the 
artist’s name. With large margin. 


62 LOUIS ROUPERT Mtre ORFEVRE A METZ. 


Line-engraving after L. Roupert. First state. Im- 
pression with the inscription but before Mariette’s 
name. With margin showing the plate-mark. Very 
fine. 


Yee nae 


JEAN DE COURBES. 
1592-? 


French painter-engraver who worked in Paris and in England. 


63 MARY SIDNEY, COMTESSE DE PEMBROCK. 


Line-engraving after the artist’s own design. Leblanc 
5 No. 1. Fine impression with the inscription. With 
margin trimmed to plate-mark. Inlaid to quarto. 


16 


JEAN COUVAY. 
1622-2? 


French painter-engraver born in Arles and who worked in Paris, 


aautlcs 
64 LE Baek ss8 DES PUISSANCES DE L’AME. 


40 Engraving after a drawing by G. Huret. Leblanc 
ae No. 77. Very fine impression with the inscription. 
With very large margin. 


65 LE BEAU SEJOUR DE CINQ SENS. 


Engraving after a drawing by G. Huret. Leblanc 
4 —  No.78. Very fine impression with the inscription. The 
margin trimmed to the engraved surface. 


CORNELIS DANCKERTS. 
1561-? 


Painter-engraver and publisher. Born in Amsterdam and was 
working there. 


66 CORNEILLE DE WIT (with a Sea Battle). 


Line-engraving after S. de Ul. Leblane No. 203. Very 

te! — fine impression with the inscription. With small 
margin lacking the plate-mark. The print had been 
folded. 


DANKER DANKERTS. 
1600-? 
Painter-engraver born in Antwerp. 


67 CATHERINE OF BRAGANZA. 
; 40 Line-engraving after the artist’s own design. Very 


— fine impression with the inscription. With small 
margin showing the plate-mark. 


68 CHARLES II. 
Line-engraving after the artist’s own design. Very 
/0— fine impression with the inscription. With small 
margin showing the plate-mark. 


Fyrrr - . 17 


JEAN DAULLE. 
1703-1763. 


French line-engraver, born in Abbeville. Pupil of Hecquet who worked 
in Paris, where he died. 


69 JOANN. BAPT. COIGNARD. 


3 —  Sine-engraving after Vairieau. Delignieres No. 16. 
; Second state. Very fine impression with the inscrip- 
tion. With large margin. 


70 PIERRE AUGUSTIN LE MERCIER. 


ss Line-engraving after J. Van Loo. Delignieres No. 29. 
2 ee Second state. Very fine and brilliant impression with 
the inscription. With small margin showing the plate- 

mark, 


71 JEAN MARIETTE. 


0 Line-engraving after A. Pesne. Delignieres No. 43. 
o°= Only one state. Very fine impression with the inscrip- 
tion. With small margin lacking the plate-mark. 


Suave Portrait of the celebrated print collector, engraver and pub- 
lisher. From the Soulavie collection. 


CHARLES DAVID. 
1600-? 


French painter-engraver born in Paris. 


72 ELIZABETH, ROYNE DANGLETERRE ET DIR- 
LANDE. 


bi Line-engraving after the artist’s own design. Didot 
No. 364. Second state with the inscription. Very fine 
and brilliant impression. With large margin. 


73 LOUYS DE BOURBON COMTE DE SOISSONS. 


50 Line-engraving after Ferdinand. Very fine impression 
3 A with the inscription. With small margin showing the 
plate-mark. 


18 


ABRAHAM DE BRUYN. 
1538-? 
Flemish engraver, born at Antwerp. Established himself at Cologne 


in 1577 and died there very old. His portraits are engraved in the 
manner of Wierix. 


74 CHARLES IX OF FRANCE. 
Painter-engraving. Nagler Monogrammisten I, page 
Pee 233. Very fine impression with the inscription: 
‘Carolus Nonus . Dei . Gratia, Francorum Rex Chris- 
tianissimus.’’ The margin trimmed to the engraved 
border. | 
Very scarce. 


NICOLAES DE BRUYN. 
1565-after 1651. 


Born in Antwerp. Son and pupil of Abraham. Engraved a number of 
picturesque plates in a very delicate manner. 


75 ST. HUBERT. 1614. 
Be Painter-engraving. Andresen No. 8. Framed. 


wee 


THOMAS DE LEU. 
?-1620. 


A native of Flanders who was working in France from 1560-1612. 
First he was working in a dry manner after Cort, Sadeler and Wierix, 
but later devoted himself to portrait-engraving with great success. 


76 CATHERINE DE MEDICIS. 


Etching finished with the graver after the artist’s own 
so design. Robert-Dumesnil No. 332. Third state, with 
Bee the lettering, but before the cross hatching. Superb 
and brilliant impression with margin showing the plate- 
mark. The lower right corner has been torn and is 
replaced; the upper part of the right margin has given 

way and is reinforced. Inlaid. 


we 


77 LOUISE DE LORRAINE. 
Line-engraving after F. Quesnel. Robert-Dumesnil 
No. 441. Only one state. Very fine impression with 
AL the inscription. With margin showing the plate-mark. 
Inlaid to quarto. 


19 


78 MARIE DE MEDICIS. 


a Line-engraving after F. Quesnel. Robert-Dumesnil 

a - No. 454. Only one state. Very fine impression with 

m’’ the inscription. The margin trimmed to the engraved 
surface. Laid down. 


79 ANOTHER PORTRAIT OF THE SAME. 


Line-engraving after Fournier. Robert-Dumesnil 
No. 456. First state; before the printing on the 

Ad cas back .and before the artist’s name. This plate, which 
is smaller than the one described by Dumesnil, is the 
one which was used to illustrate the book ‘‘Traité sur 
l’audacieuse.’’ Very fine impression with the inserip- 
tion. With margin showing the plate-mark. Inlaid to 
4to. A spot in the center of the engraving has been 
cleaned. 


80 MARIE STUART. 
Line-engraving after the artist’s own design. Robert- 
SU 
ws lat Dumesnil No. 457. Second state with the background 
marbled. Fine impression with the inscription. With 
two" margin trimmed inside the plate-mark. 


From the A. Morrison collection. 


81 BLAISE DE VIGENERE. 


50 Line-engraving after the engraver’s own design. 
fs Robert-Dumesnil No. 502. First state. Proof before 
all letters. With small margin lacking the plate- 


ie ead mark. Superb. 


82 GREGOIRE DE VALENTIA. 


Line-engraving after the engraver’s own design. 
ee oh Robert-Dumesnil No. 507. Superb impression with 
Ow: margin showing the plate-mark. Inlaid to quarto. 


¢ 


WILLIAM JAKOBSZ DELF. 
1580-1638. 
Painter-engraver born in Delft. He was a pupil of his father. 


83 GEORGE VILLIERS, DUKE OF BUCKINGHAM. 


Line-engraving after J. Mierevelt. Franken No. 13. 
SS Second state. Very fine impression with the inscrip- 
tion. With small margin lacking the plate-mark. 


From the collection of A. Morrison. 


20 


84 MICHAEL MIREVELT. 
Line-engraving after A. Van Dyck. Franken No. 47. 
Pier Fifth state; with the address of G. H. Hendricx bur- 
on nished off. Superb impression with the inscription. 
Ine With margin showing the plate-mark. 


85 GUILLAUME I. PRINCE OF ORANGE. | 
Line-engraving after Van de Venne. Franken No. 55. 
RS ae Second state. Very fine impression with the inscrip- 
ya | tion. With small margin lacking the plate-mark. 
From the P. Marriette and H. Blake Collections. 


86 HENRICUS FREDERICUS PRINCEPS AURICAE. 
; Line-engraving after Van de Venne. Franken No. 60. 
47 a Third state. The date has been changed from 1618 


to 1619. Very fine impression with the inscription. 
qowent With small margin trimmed to the plate-mark. 


FRANCOIS DEQUEVAUVILLER. 


1745-1807. 
French painter-engraver, born in Abbeville. He was a pupil of J. Daulle 
and worked mostly in Paris. 


87 RENE DUGUAY-TROUAIN. 
Etching after N. Ozanne. Very fine proof before all 
{06 — letters and before the plate was finished with the graver. 
With large margin but trimmed to the plate-mark. 


CLAUDE DREVET. 
1710-1768. 
French painter-engraver, born in Lyons. He was a nephew of Pierre 
and a cousin of Pierre Imbert Drevet. 


88 PHILIPPE LOUIS, COMTE DE ZINZENDORF. 
Line-engraving after H. Rigaud. Didot No. 15. Third 
il — state. Impression with the inscription, but before the 
mistake in the word ‘‘Parisis’’ was corrected to 
‘*Parisiis.’? With small margin, lacking the plate- 
mark. Very fine. 


89 MARGUERITE HENRIETTE DE LA BRIFFE. Mme 
LE BRET. 


Line-engraving after H. Rigaud. Didot No. 9. Third 
See state. Impression with the inscription. With margin 
trimmed to the plate-mark. Very fine. 


21 


PIERRE DREVET. 
1664-1739. 


French painter-engraver, born in Lyons. He was the father of Pierre 
Imbert, and worked principally in Paris. 


. 90 JACQUES FITZ-JAMES, DUC DE BERWICK. 
Line-engraving after B. Gennari. Didot No. 20. See- 


40 ond state. Impression with the inscription but with the 
ay Z: ae alteration of the painter’s name from ‘‘Ienary’’ to 
*‘Genaro.’’ With margin showing the plate-mark. 

Very fine. 


91 ERNEST AUGUSTE XVIe, DUC DE BRUNSWICK- 
LUNEBOURG ET PREMIER ELECTEUR DE 

pies HANOVRE. 
[2 Line-engraving after the artist’s own design. Didot 
No. 80. Only one state. Very fine impression with 
the inscription. With margin showing the plate-mark. 


92 ROBERT DE COTTER. 


Line-engraving after H. Rigaud. Didot No. 34. Sec- 
ond state. Impression with the inscription, but before 

50 — the words . ‘‘Conseils, premier Intendant’’ were 
changed to ‘‘Cons’., premr. Architecte, Intendant.’’ 
Superb impression with large margin. 


93 PHILIPPE DE COURCILLON, MARQUIS DE DAN- 
GEAU. 
_. Line-engraving after H. Rigaud. Didot No. 36. Sec- 
[2- ond state. Proof before all letters, with the coat-of- 
arms. With small margin lacking the plate-mark. 


94 LOUIS LE GRAND (XIV). 


Line-engraving after H. Rigaud. Didot No. 55. Third 
state. Impression with the inscription and with the 

20 i additional work. Very fine impression with small 
margin lacking the plate-mark. The print had been 
folded and pressed out. 


95 LOUIS QUINZE (XV). 


Line-engraving after H. Rigaud. Didot No. 58. Sec- 

ond state. Very fine impression with the inscription. 

IX — With small margin lacking the plate-mark. A print- 

rt er’s crease in the upper part of the engraving and a 
7" ~—s small tear at the bottom. 


22 


96 


is 


100 


102 


LOUIS ALEXANDRE DE BOURBON COMTE DE 
TOULOUSE. 


Line-engraving after H. Rigaud. Didot No. 64. Third 
state. Two anchors below the coat-of-arms. Good im- 
pression with the inscription and with small margin 
trimmed to the plate-mark. 


ANOTHER PORTRAIT OF THE SAME PERSON- 
AGE. 


Line-engraving after H. Rigaud. Didot No. 65. Only 
one state. Very fine impression with the inscription 
and with margin showing the plate-mark. 


FRANCOIS GIRARDON. 


Line-engraving after Vivien. Didot No. 69. Second 
state. Proof before the inscription was finished. Very 
fine impression with small margin showing the plate- 
mark. The print had been folded and pressed out. 
Very scarce. 


MARIE D’ORLEANS. 


Line-engraving after H. Rigaud. MDidot No. 115. 
Only one state. Impression with the inscription and 
with large margin. 


CLAUDE LOUIS HECTOR, DUC DE VILLARS. 


Line-engraving after H. Rigaud. Didot No. 123. 
Third state. Impression with the inscription in nine 
lines, which afterwards was reduced to six. Trimmed 
to the engraved surface and remargined. Very fine. 


MARIE DE LAUBESPINE. FEMME DE NICOLAS 
LAMBERT. 
Line-engraving after N. de Largilliere. Didot No. 81. 
Second state. Impression with the inscription, but 
before Drevet’s address was burnished out. With large 
margin. Very fine. 


A REVERSED COPY OF THE ABOVE PLATE. 


Line-engraving by an unknown engraver. Didot No. 
95 bis. Proof before all letters. With small margin, 
lacking the plate-mark. 


23 


103 JEAN MARTIN MITANTIER. 


PD 


Line-engraving after N. de Largilliere. Didot No. 95. 
Third state. Proof before the name of the personage, 
the address changed from ‘‘rue St. Jacques’’ to ‘‘rue 
du Foin.’’ Very fine proof with margin showing the 
plate-mark. 


104 HELENE LAMBERT M. DE MOTTEVILLE. 


By ong 


Line-engraving after N. de Largilliere. Didot No. 98. 
Third state. Impression with the inscription, but with 
the words ‘‘avee privil. du Roy’’ added after ‘‘sculp- 
sit.’’? and omitting Drevet’s street address. Fine impres- 
sion with small margin, lacking the plate-mark. 


PIERRE IMBERT DREVET. 
1697-1739. 


French painter-engraver born in Paris; he was a son and 


a pupil of Pierre Drevet. 


105 SAMUEL BERNARD. 


NE 


Line-engraving after H. Rigaud. Didot No. 11. Second 
state. Impression with the inscription and with the 
additional work on the left hand, but before the words 
‘*Conseiller d’Estat’’ were added. With small margin, 
showing the plate-mark. The print had been folded. 
Very fine. In 3-inch black and gold frame. 


106 JACQUES BENIGNE BOSSUET. 


1.08 oa 
gn 


Line-engraving after H. Rigaud. Didot No. 12. Fourth 
state. Impression with the inscription but before any 
dots after the words ‘‘Rigaud pinxit.’’ With small 
margin, lacking the plate-mark. A printer’s crease in 
the left upper part of the engraved surface. Very fine 
and rare. The engraver’s masterpiece, eagerly sought 
by the collector. 


107 ADRIENNE LECOUVREUR. 


1 Es ea 


Line-engraving after Coypel. Didot No. 24. Second 
state. Impression with the inscription, but before the 


misspelled words ‘‘age’’ and ‘‘Model’’ were corrected. 


Trimmed to the engraved surface and mounted like an 
India paper proof. Very fine. 


24. 


— 


JOHN DROESHOUT. 


English painter-engraver who was working in London in the 
middle of the 17th Century. 


108 TRUTH BROUGHT TO LIGHT. 


Line-engraving after the engraver’s own design. Fine 

fp impression with the inscription. The margin trimmed 
to engraved border. Laid down. (‘‘Explanation of 
title.’’) (2) 


ALBRECHT DURER. 
1471-1528. 


Born at Nirnberg of Hungarian parents. Pupil of Michel Wolge- 
muth. ‘‘Albrecht Direr fills a large space in the history of art. So 
far as Germany is concerned he is facile princeps, unrivalled even in 
his own age by so great an artist as the younger Hans Holbein, and 
towering above all his successors, no one of whom can raise a head 
high enough to look him in the face. . . . Although it would seem 
that it was Durer’s ambition to excel as a painter, it is as an engraver 
that he has won his fame and taken so sympathetic a grasp of the 
human heart.’’—Lionel Cust. 


109 PORTRAIT OF THE ENGRAVER. 


Jat gaa Line-engraving by G. M. Preisler after Diirer’s own 
painting. Andresen No. 8. Closely trimmed. 


110 THE NATIVITY. 


Painter-engraving. Bartsch No. 2. Superb impression 
2,09 on paper with the Bull’s Head water-mark. With small 
margin showing the entire border-line. 
Tred OF THE GREATEST RARITY IN SUCH FINE CONDITION. 
(See Illustration.) 


111 ST. HUBERT. 


Painter-engraving. Bartsch No. 57. Fine and very 
_._ strong impression on paper with the water-mark ‘‘F in 
eos a circle.’’ Not mentioned by Hausmann. With small 
margin, showing most of the plate-mark. Folded in 
Hahto the middle, as usual, and pressed out. 
AN IMPRESSION OF RARE BEAUTY. 


112 ANOTHER IMPRESSION OF THE SAME. 
From the worn plate. On paper with the ‘‘Eagle’’ 
j —_ water-mark, similar to Hausmann. No. 17. Closely 
trimmed. 
From the F. Unterberger Collection. 


25 


113 


114 


60 — 


115 


10 «3 


116 


ST. JEROME IN PENITENCE. 


Painter-engraving. Bartsch No. 61. A fine impression, 
but badly treated. The impression is cut down to 
6 x 814, showing only the figure of the Saint and the 
front part of the lion; very little of the landscape is 
left. A crease broken through in several places across 
the print on the forehead of the Saint, and another 
from the ground to the path above, less noticeable. 


THE RAPE OF AMYMONE. 


Painter-engraving.° Bartsch No. 71. Very good im- 
pression with small margin. No water-mark. A small 
crease near the left lower corner is broken through at 
one place and is repaired. 


MELANCHOLIA. 


Painter-engraving No. 74. The very fine copy by Johan 
Wierix, 1602. With very small margin. Fine. With 
Naudet’s signature on the back. 


THE LITTLE FORTUNE. 


Painter-engraving. Bartsch No. 78. Fine impression 
but slightly stained and closely trimmed. 


From the T. W. Holburne Collection. 


THE LITTLE HORSE. 


Painter-engraving. Bartsch No. 96. Anonymous re- 
versed copy. Heller No. 1005. On paper with the 
water-mark ‘‘Arms of Amsterdam.’’ FINE AND RARE. 


WILIBALD PIRKHEIMER. (Diirer’s Friend.) 


Painter-engraving. Bartsch No. 106. Impression of 
the 17th century on Rembrandt paper with the water- 
mark ‘‘shield with a lily and below the monogram 
WR.’’ With big margin. 


REPRODUCTIONS. 


Amand-Durand reproductions of the ‘‘Three Genii,”’ 
the ‘‘coat-of-arms with the cock’’ and the ‘‘coat-of- 
arms with the seull.’’ (3) 


26 


GERARD EDELINCK. 
1640-1707. 
Dutch painter-engraver. He was born in Antwerp but went to Paris, 
where he produced some of his best plates. 


120 GERARD EDELINCK. 


ae Line-engraving by N. Edelinck after J. Tortebat. 
A Leblane No. 10. Impression with the inscription; 
Ww with small margin, lacking the plate-mark. Inlaid to 
‘ folio. 


121 PHILIPPE DE CHAMPAIGNHE. 


Line-engraving after his own painting.  Robert- 
20 > Dumesnil No. 164. First state. Impression with the 
/ inscription, but before the slip of the graver behind 
ee the head of the personage. Superb impression with 
margin trimmed to the plate-mark. Folded and pressed 
out. 


122 MARTIN VAN DEN BOGAERT-DESJARDINS. 


Line-engraving after H. Rigaud. Robert-Dumesnil 

SD itm No. 182. First state. Proof before all letters. Superb 
impression with small margin, lacking the plate-mark. 
The proof had been folded and pressed out. 


123 CHARLES D’HOZIER. 


Line-engraving after H. Rigaud. Robert-Dumesnil 

/2 — No. 184. Only one state. Superb impression with 
the inscription. With very large margin and a border 
a la Gloumy close to the plate-mark. 


124 GEDEON BERBIER DU METZ. 
Line-engraving after H. Rigaud. Robert-Dumesnil 
No. 190. Second state. Proof with the artist’s names, 
‘{—~ but with the white tablet. Very fine impression 
trimmed to the engraved border. The plate had been 
folded and pressed out. One inch on the left side has 

been lost and is cleverly replaced. 


125 FERDINAND PRINCE EVEQUE DE PADERBORN 
ET DE MUNSTER. 


Line-engraving by C. Le Brun. Robert-Dumesnil No. 
6 — 203. Third state. Impression with the inscription, 
to which the words ‘‘E Typographia Regia’’ have been 
added; the slip of the graver in the cross has been re- 
moved. With margin showing the plate-mark. VuEry 
E. 
meh aes the collection of Baron Scheffler. 


27 


129 


JACQUES FRANCOIS EDOUARD PRINCE DE 
GALLES. 

Line-engraving after de Troy. Robert-Dumesnil 

No. 211. Intermediate state between the first and 


second. Proof before the dedication ‘‘Offerebat Dom 


Joannes,’’ ete., but with the letters ‘‘C. P. R.’’ after 
the word ‘‘sculp.’’ Very fine impression trimmed to 
the engraved border. 


JACQUES FRANCOIS EDOUARD PRINCE DE 
GALLES. 
Line-engraving after de Troy. Robert-Dumesnil 
No. 212. First state. Proof before the inscription. 
Very fine proof with margin showing the plate-mark. 
The impression had been folded and pressed out. 


PIERRE DANIEL HUET. 

Line-engraving after N. de lLargilliere. Robert- 
Dumesnil No. 224. First state. Impression with the 
inscription, but before the word ‘‘Suessionensis’’ was 
changed to ‘‘ Abrincensis.’’ Very fine impression with 
margin showing the plate-mark. 


DOMINIQUE, COMTE DE KAUNITZ. 
Line-engraving after F. de Cock. Robert-Dumesnil 
No, 228. Only one state. Very fine impression with 
the inscription. With margin showing the plate-mark. 


JEAN JACQUES KELLER. 
Line-engraving after N. de lLargilliere. Robert- 
Dumesnil No. 229. Third state. Impression with the 
enlarged inscription on a separate plate. Fine im- 
pression with small margin, but lacking the plate-mark. 


JEAN DE LA FONTAINE. 

Line-engraving after H. Rigaud. Robert-Dumesnil 
No. 230. Only one state. Very fine impression with 
the inscription; with margin showing the plate-mark. 


LOUIS XIV ROI DE FRANCE. 
Line-engraving after the artist’s own design. Robert- 
Dumesnil No. 248. First state. Proof before all letters. 
Superb impression, with margin trimmed to the plate- 
mark at top and sides, at the bottom to the engraved 


border. 
VERY SCARCE. 


28 


133 


137 
A? 


Ml: 


138 


[6— 


ANOTHER PORTRAIT OF THE SAME PERSON- 


AGE. 


Line-engraving after J. de la Haye. Robert-Dumesnil 
No. 256. Second state. Impression with the verses, 
but before Audran’s address. Superb impression with 
very large margin. The engraving had been folded 
and pressed out. 


FRANCOIS MICHEL LE TELLIER MARQUIS DE 
LOUVOIS. 


Line-engraving after C. Mignard. Robert-Dumesnil 
No. 261. Second state. Impression with the inscrip- 
tion but Edelinck’s name has been changed to ‘‘Mig- 
nard.’’ With margin trimmed closely to the plate- 
mark at the top, the bottom and the right side, but 
showing it on the left. The print had been folded. 


VERY FINE. 


JULES HARDOUIN MANSART. 
Line-engraving after H. Rigaud. Robert-Dumesnil 
No. 267. Second state. Impression with the inscrip- 
tion, but the dedication to M. de Cotte has been bur- 
nished out. With margin showing the plate-mark. The 
print had been folded and pressed out. 
VERY FINE. 


CHARLES MOUTON. MUSICIEN DE LOUIS XIV. 
Line-engraving after De Troy. Robert-Dumesnil No. 


281. Second state. The plate is cut down and the 
four verses added on separate plate. With large 
margin. 

FINE. 


PHILIPPE DUC D’ANJOU. 


Line-engraving after de Troy. Robert-Dumesnil No. 
294. Only one state. Very fine impression with the 
inscription and with large margin. 


ISRAEL SILVESTRE. 


Line-engraving after C. le Brun. Robert-Dumesnil 
No: 319. Third state. Impression with the inscription 
and with the view of Paris. With margin showing the 
plate-mark. Written in ink in the lower margin 
‘*Silvertre Israel dessinateur du Roi.’ 

Very fine. 


29 


139 EUSTACHE TEISSIER. 
iy Line-engraving after A. Bouys. Robert-Dumesnil No. 
ae 325. Third state. Impression with the inscription, but 
Z the name ‘‘F. Simeon Toery’’ was replaced by ‘‘F. 
Joseph Michelin.’’ With very large margin. 


SUPERB IMPRESSION. 


140 FRANCOIS TORTEBAT. 
Line-engraving after De Pille. Robert-Dumesnil No. 
eect 328. Only one state. Very fine and brilliant impres- 
sion with the inscription. With margin showing the 


geAo-  plate-mark. 


141 LOUIS ALEXANDRE DE BOURBON, COMTE DE 
TOULOUSE. 

/0 LP Line-engraving after Gobert. Robert-Dumesnil No. 329. 
Only one state. Impression with the inscription and 
with small margin lacking the plate-mark. The print 
had been folded in several places. 


142 EDOUARD COLBERT, MARQUIS DE VILLACERF. 
Line-engraving after Mignard. Robert-Dumesnil No. 

336. Only one state. Fine impression with the in- 

/3- scription and with margin showing the plate-mark. 
Not an early impression. In a 38-inch black and gilt 


gu - frame. 


RENOLD ELSTRAKE. 


One of the earliest English engravers, who worked in London 
at the end of the XVth Century. 


148 MARIE QUEEN OF SCOTS. 
Line-engraving after the engraver’s own design. 
NY Naa Leblane No. 11. Fine impression with the inscription. 
With small margin lacking the plate-mark. 


ENGRAVERS NOT ASCERTAINED. 


144 GIRARD THIBAULT. 
Fecal Line-engraving after D. Bailly. Superb proof before 
the title. With large margin showing the plate-mark. 


145 THE PEDLER. 
Very early mezzotint. The margin trimmed to the 
b engraved surface. 


AN ade 30 


146 FERDINAND, DUKE OF ALVA. 
Line-engraving. Good impression with the inscription 
ge and with margin showing the plate-mark. 


THE CLOCK OF LUCK. 
An emblematic engraving. 


AMOR MUTUR. 
An engraving in the manner of Wierix mounted on 
gray paper. 


147 APRIL-KAART OF KAART SPEL VAN MOMUS. 
(Playing cards.) 
l 6- A Dutch series of playing cards satirizing the Bubble 
schemes of 1720. The full pack of fifty-two cards and 
y, two extra title cards on one sheet with margin showing 
Ww: - the plate-mark. Has been folded and pressed out. 
; Interesting and rare. 


WILLIAM FAITHORNE. 
1620-1691. 


English painter-engraver, born in London. He was a pupil of Rob. 
Peake and worked in England and France. 


148 PORTRAIT OF THE ENGRAVER. 


pee Line-engraving after his own painting by A. Banner- 
3 I e e h h e ° e d e h e 
man. Impression with the inscription, and with margin 
qer. showing the plate-mark. 


149 HENRIETTA MARIA. 
Line-engraving after his own design. Fagan page 5. 
3° First state.. Impression with the inscription, but be- 
fore the publication line was erased and the address of 
P. Stent inserted. With large margin. Has been 
folded and pressed out. VERY FINE. 


150 HENRIETTA MARIA QUEEN OF ENGLAND. 
Line-engraving after the artist’s own design. Fagan 
ieee page 6. Only one state. Proof before all letters; 
“‘G. F. fec.’’ is put in with ink. Very fine impression 
w/v. with margin showing the plate-mark at top and sides 
’ only. In the inscription space in ink the title of the 
personage in contemporary handwriting. 


31 


151 CHARLES THE II. 


bo 


rp 


Line-engraving after the artist’s own design. Fagan 
page 8. First state; before the verses were burnished 
out and the arms of Great Britain and the inscription 
were substituted. Very fine impression with large 
margin. 


152 CATHERINE OF BRAGANZA. 


OS ee 


Line-engraving after the engraver’s drawing from the 
original painting sent from Portugal. Fagan page 
9. Second state; before the plate was damaged. Very 
fine impression with the inscription and with small 
margin lacking the plate-mark. The right border has 
been skilfully replaced. 

From the A. F. Didot collection. 


158 ROBERT BRUCE, EARL OF AYLESBURY. 


¥ — 


Line-engraving after the engraver’s own design. Fagan 
page 18. Second state; with the title. Very fine im- 


pression with the inscription and with small margin 


showing the plate-mark. 


154 OLIVER CROMWELL. 


Wad Ts: 


Line-engraving after the engraver’s own design. Fagan 
page 31. Intermediate state between the second and 
the third. With a single layer of lines between the 
printing of the book but no cross-hatchings. In the 
next state the face is changed to that of William the III. 
Very fine impression with the inscription. With small 
margin showing the plate-mark. 
EXCESSIVELY RARE. 


(See Illustration.) 


*90 HENRY RICH, EARL OF HOLLAND. 


Line-engraving after the engraver’s own design. Fagan 
page 42. The state cannot be ascertained, as the 
address has been cut off and replaced by hand. Very 
fine impression with the inscription. With margin 
trimmed closely to the engraved border at top and 
sides, at the bottom closely to the last line of the in- 
scription. Inlaid. 
32 


Floreant i é j re Porhainentuim 
: : | Pracedtor w. Angle Ke fA 
: boa \ = S J 
Pro Des lore soso : ‘ 
et Keege 


Magna. 
Charia 


OLIVER CROMWELL 
BY WILLIAM FAITHORNE 


[NUMBER I54| 


f 
oe 
i 
+ 
\ ‘ 
> + 
g A 
. 
; 
. 
. - 
yt : 
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' 5 
- 
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Mec PS ‘ 
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156 ENDYMION PORTER. 


Line-engraving after W. Dobson. Fagan page 54. 
First state before the name of the personage was 
ioe changed to ‘‘Earl of Essex.’’ Very fine impression 
with the inscription. With small margin lacking the 
med plate-mark. The engraving has been folded and pressed 
out. 
From the collection of Rev. J. B. James. 


157 SIR WILLIAM SANDERSON. 


Line-engraving after J. Soest. Fagan page 58. First 

/0 — state; before the artists’ names and the date were 
erased. Very fine impression with the inscription. 
With margin showing the plate-mark. 


158 MARGARET SMITH. 
Line-engraving after Van Dyck. Fagan page 60. . 

Y Second state; with the title on the tablet. Fine im- 
pression with the inscription. With small margin 


lacking the plate-mark. A printer’s crease through the 
Ww. centre. 


ETIENNE FESSARD. 
I7I4-? 


French engraver born in Paris. He was a pupil of Edme Jeaurat. 


159 LOUIS LE BIEN AIME. 


- Line-engraving after Bandré Bardon. Very fine impres- 
> sion with the inscription. With small margin lacking 


Howry the plate-mark. 


PIERRE FIRENS. 
?-1639. 


French painter-engraver who died in Paris. 


160 HENRI IV. 
j s¥ lLine-engraving after the artist’s own design. Leblane 
} No. 158. Only one state. Superb impression with the 
inscription. With margin showing the plate-mark. 
fowl p g1 g p 


From the Count von Liphart collection. 
33 


161 LOUIS XIII ET ANNE D’AUTRICHE. 


Line-engraving after the artist’s own design. Second 

1a state; with the inscription changed from two to four 

verses and without the printing on the back of the 

arn engraving. Fine impression with margin trimmed to 
the engraved border. Folded and pressed out. 


162 MARGUERITE DE VALOIS. 


go Line-engraving after L. le Clere. Very fine impression 
aa with the inscription. With small margin lacking the 
plate-mark. Small repairs in the lower corners. 


J. FRANCOIS. 


163 MARTEN HARPERSZ .TROMP. 
Line-engraving after J. Livius. Superb impression 
oui with the inscription. With large margin. 


me 


JEAN CHARLES FRANCOIS. 


1717-1769. 
French engraver born in Nancy in 1717; worked in Lyons and Paris. 


164 LOUIS QUINZE. 
Line-engraving. Very fine impression with the in- 
a i ati scription. With margin trimmed to engraved surface 
at top and sides, at the bottom it only shows the pub- 
lishers’ names and the date 1753. Folded and pressed 
out. 


CORNELIS GALLE. 
1576-1648. 


Painter-engraver, born in Antwerp, where he worked for 72 years. 
He was a pupil of his father, Philip. 


165 THE VIRGIN AND CHILD (‘‘Die Erden koénigin’’). 
Line-engraving after P. P. Rubens. Andresen No. 2. 


3 Bi Only one state. Very fine impression with the imserip- 
tion. With margin showing the plate-mark. Laid 
down. 


34 


File ating tirinaa: 


CORNELIS GALLE le Jeune. 
1600-2? 


Dutch painter-engraver born in Antwerp. He was the son 
and pupil of Galle the elder. 


166 FERDINANDUS III. 


Line-engraving after A. van Dyck. Andresen No. 1. 

7 al First state; with the address of J. Meyssens and the 
date 1649. Very fine impression with the inscription 
and small margin showing the plate-mark. 


From the Collections of W. S. and Baron Scheffler. 


167 OCTAVIUS PICCOLOMINI. 


Goe Line-engraving after A. van Halle. Andresen No. 6. 
Second state; with the No. ‘‘44.’’ Superb impression 
with small margin showing the plate-mark. 


JOAN GALLE. 
1600-1676. 


Dutch painter-engraver born in Antwerp. He was a son 
. and a pupil of Theodoor Galle. 


168 SCULPTURA IN Ass. 


Line-engraving after J. Stradanus. Very fine impres- 
Hi — sion, with the inscription. With margin showing the 
plate-mark. 


ETIENNE GANTREL. 
1640-1705. 


French engraver and publisher; born in Paris, where he 
produced most of his plates. 


169 J. CHEVALIER SEIGNEUR DE COURTANVAUX. 


go Line-engraving after the engraver’s own design. Superb 
L proof before all letters. With small margin lacking 
the plate-mark. 


35 


LEONARD GAULTIER (Galter). 
About 1561-1630. 


Born at Mayence. Pupil of E. de Laulne. He worked mostly 
in Paris, where he died. 


“170 THE LAST JUDGMENT. 


Line-engraving after Michel Angelo. Andresen No. 2. 


oe Early impression before the address of P. Mariette. 
yw Excellent impression with margin. The lower back- 
ground slightly rubbed. Rare. 


171 HENRY IV OF FRANCE (killing the Hydra). 


‘‘Le Septre de Milice.’’ Painter-engraving. Not men- 
50 tioned by Andresen. Four verses below: ‘‘Apres 
4a preg 5 . 29 . S ° 
Phonneun ine ce kei immortelles.’’ Fine impression 
with small margin. 
From the A. Morrison Collection. 


JAKOB DE GHEYN, the elder. 
1565-1616. 


Painter and engraver. Pupil of H. Goltzius. 


172 THE ARBALIST AND THE MILKMAID. 


Painter-engraving. Andresen No. 12. Fine impres- 
| horse sion with small margin, at the top closely trimmed, 
ab and the inscription is lost. 


PIERRE GIFFART. 
1648-1723. 
Painter-engraver born in Paris, where he produced 
most of his engravings. 


173 LOUIS XIV. 


Line-engraving after the engraver’s own drawing. 

/2.— Very fine impression with the inscription. With margin 
showing the plate-mark. Fold in centre and torn on 
the left side, showing stitches of binding. Laid down 
on cardboard and framed in two inches ornamented 
bronze. 


36 


‘ 
») 
y 

\ 


: .¥ pe —— 
ae a a 


SECOND SESSION 


Thursday Evening, March 15, 1917, at 8:15 o'clock 


LOTS 174-332 


JACOB GOLE. 
_ 1660-1737. 


Painter-engraver, born in Amsterdam, where he produced plates in 


line and mezzotint. 


174 PORTRAIT OF THE ENGRAVER. 


Te 


175 


eb 


176 
- 40 


179 


f 7 
C 


Mezzotint after D. vr. Plaes. Very fine impression with 
the inscription. With margin showing the plate-mark. 


JACQUES BASNAGE. 


Mezzotint after J. Holzhalb. Very fine impression 
with the inscription. With large margin. 


DO. BALTHAZAR BECKER. 


Mezzotint after the engraver’s own design. Fine im- 
pression with the inscription. With small margin show- 
ing the plate-mark. 


From the Brugnude collection. 


MADAME LA PRINCESS DE CONTI a la mode. 
Mezzotint after the engraver’s own drawing. Very fine 
impression with the inscription. With small margin 
showing the plate-mark. 


DO. PETRUS DU BOIS. 
Mezzotint after the engraver’s own design. Fine im- 
pression with the inscription. With large margin. The 
engraving has been folded and pressed out. 


GEORGE I. 
Mezzotint after J. Hiersman. Fine impression with 
the inscription. With small margin trimmed nearly to 
the engraved surface at the top and sides, at the bottom 


~ closely to the plate-mark. Folded and pressed out. 


37 


180 GUILLAUME HENRY PRINCE D’ORANGE. 


Mezzotint after the engraver’s own design. Very fine 
Hem impression with the inscription. With margin trimmed 


gr * to the plate-mark. 


‘181 JAMES II AS DUKE OF YORK. 


‘ Mezzotint after the engraver’s own design. Very fine 
3 proof before all letters. With large margin showing the 
plate-mark. 


182 MADEMOISELLE DE LAVALIERE. 


Line-engraving after D. A. Plaats. Fine impression 
+f a with the inscription. With margin showing the plate- 
mark at the top and bottom only, it is lacking at the 


me sides. 


183 LOUIS XIV. 


Line-engraving after the engraver’s own design. Very 
ee fine impression with the inscription. With large 


me?” margin. 
184 MARIE ANNA OF SPAIN. 


Mezzotint after the engraver’s own design. Very fine 
; noel impression with the inscription. With small margin 
showing the plate-mark. 


185 JOHN DUC DE MARLBOROUGH. 


Mezzotint after the engraver’s own design. Very fine 
/ | impression with the inscription. With margin showing 
jo _ the plate-mark. 


186 HENDRIK NOTEMAN. 
ye Mezzotint after A. de Gelder. Very fine proof before 
a os all letters. With small margin lacking the plate-mark. 
187 LE GRAND CZAAR DE MOSCOVIE (Peter the 
; Great). 
l iN Mezzotint after the engraver’s own design. Very fine 


impression with the inscription. With margin show- 
ing the plate-mark. 


188 D9. NICOLAUS DE LA PLANCQUE. 
Mezzotint after the engraver’s own design. Very fine 


ge impression with the inscription. With margin showing 


qed the plate-mark. 


38 


‘ 


189 REMBRANDT VAN RYNN. 


[0- Mezzotint after himself. Very fine proof before all 
yr - _ letters. With margin showing the plate-mark. 


- 


1909 BARTHOLD LE NOIR (SCHWARTZ). 
Mezzotint after the engraver’s own design. Fine im- 
ier pression with the inscription. With margin trimmed 
to the engraved surface at the top and sides, at the 
hw bottom it is trimmed a little above the plate-mark. 
From the H. Howard collection. 


191 D9. NERO SIBERSMA. 
$0 Mezzotint after the engraver’s own design. Very fine 
; impression with the inscription. With margin showing 
the plate-mark. 


192 THE KING (William IIT). 

4 Mezzotint after the engraver’s own design. Very fine 
goe impression with the inscription. With large margin 
quae showing the plate-mark. 


193 THE DRAWING LESSON. 


S$? Mezzotint after G. Schalecken. Impression with the in- 
§ As. scription. With small margin showing the plate-mark. 


194 THE MUSIC LESSON. 


go Mezzotint after G. Metzu. Very fine proof before all 
$— letters. With small margin showing the plate-mark. 


HENDRIK GOLTZIUS. 
1558-1616. 

Painter and engraver. Pupil of his father and of Dirk Cornhert. 
He soon surpassed all his contemporaries, but, like all of them, suffered 
from the mannerisms of his models—Spranger, Stradanus and the host 
of pseudo-classicists. His charm in rendering swelling curves is irresist- 
ible. 


195 PORTRAIT OF THE ENGRAVER. 


Painter-engraving. Dutuit No. 30. First state. Very 
eet: fine impression before Soutman’s name was changed 
to that of C. Visscher. With margin showing the 


“ne plate-mark. 


39 


196 OTHER PORTRAITS OF THE SAME. 


Line-engraving by G. Edelinck. Robert-Dumesnil No. 
216. Third state. Impression with the inscription and 
re ona with small margin lacking the plate-mark. 
: From the W. Drugulin Collection. 


Line-engraving by E. de Boulonois. With margin 
showing the plate-mark. 


Line-engraving possibly by R. Lochon for E. Odieuvre. 
Fine impression with large margin. (3) 


197 THREE OF THE GREAT MASTERPIECKES. 


Painter-engravings. THz ANNUNCIATION. Dutuit No. 
16. With small margin just showing the plate-mark. 


From the Von Nagler Collection and Duplicate of the Berlin 
) Fs ak Print Room. 


THE CircuMcISION. Dutuit No. 18. With small margin 
but lacking the plate-mark. Very fine. 


THe Hoty FAMILY AT THE FOOT OF A TREE. Dutuit No. 
20. With small margin just showing the plate-mark. 
All three are third states bearing the numbers. 


From the Von Nagler Collection and Duplicate of the Berlin 
Print Room. 


198 THE GREAT STANDARD-BEARER. 


Painter-engraving. Dutuit No. 125. Very fine im- 

0 pression with small margin lacking the plate-mark. 
4 9s, A small tear in the upper right part of the standard 
*""* repaired and a crease near the right edge pressed out. 


199 A CAPTAIN OF INFANTRY. 


fo— Painter-engraving. Dutuit No. 126. Very fine im- 
One pression with small margin but lacking the plate-mark. 


200 THE TRIUMPH OF APOLLO. 


Painter-engraving. Dutuit No. 140. Very fine and 

fe. early impression before ‘‘a Paris chez G. Gallays’’ was 

/ added. With margin showing the plate-mark, A 

small tear on the right is carefully repaired. Folded 
4s in the centre, as usual, and pressed out. 


40 


201 


205 
$§ — 


ned 


206 


ye 


HENRI IV OF FRANCE. 


Painter-engraving. Dutuit No. 173. First state. Ex- 
tremely fine impression, before ‘‘Herman Adolfz ex- 
cudit Haerlemensis’’ was added in the margin below 
the left lower corner. With small margin, but lacking 
the plate-mark. 


THE SON OF FRISIUS (with the big dog). 


Painter-engraving. Dutuit No. 190. The very de- 
celving copy described by Dutuit as No. 1. Closely 
trimmed and the inscription margin with part of the 
tablet cut off. 


Also the reversed copy. Dutuit No. 4. Closely trimmed. 
Both fine impressions. (2) 


CATHERINE DECKER. 


Painter-engraving. Dutuit No. 210. Third state. Im- 

pression with the inscription and with the changes of 

the head, but before the nose was more rounded off 

and the right nostril made visible. With large margin. 
VERY FINE. 


NOEL DE LA FAILLE (Commander at the siege of 


Antwerp 1588). 
Painter-engraving. Dutuit No. 212. Impression on 
thick paper, with small margin, showing the plate- 
mark. Rare. 


ANOTHER OFFFICER, full length, standing. 


Painter-engraving. Dutuit No. 216. Fine impression 
but closely trimmed to the engraved surface. Rare. 


THE PROPHET EZECHIEL. 


Line-engraving after Raphael. Dutuit No. 269. Fine 
impression with margin showing the plate-mark. 


From the Collection of J. A. Boerner. 
41 


JOHN GREENWOOD. 


1727-1792. 
Painter-engraver born in Boston. He went to London in 1768, where 
he produced some mezzotints. 


. 207 JOHN WESLEY. f 
Mezzotint after N. Hone. Smith No. 5. Third state. 
Impression with the inscription. The plate is reduced 

reas in size and is reworked, the artists’ names have been 
burnished out and in their place appears ‘‘N. Hone 
Qudvr pinx.—Jno Greenwood fecit,’’ the words ‘‘aged 6’’ are 
added after ‘‘Buchan’’ and ‘‘78’’ in the lower right 
corner. With margin. Mounted on cardboard. 
FINE. 


208 FRANZ VAN MIERIS AND HIS WIFE. 
Mezzotint after Van Mieris. Very fine proof before 
{ A — all letters. Trimmed to the engraved surface. 


JACQUES GRIGNION, le Vieux. 
1640-1698. 
French painter-engraver who was working in Paris. 


209 CHARLES DE VALOIS, DUC D’ANGOULEME. 
P hives _ Line-engraving after P. Mignard. Leblane No. 3. Very 
: fine impression with the artists’ names. With small 
foo margin showing the plate-mark. 


210 JEAN BUREAU. 
Line-engraving after the engraver’s own design. 
ioe Leblane No. 5. Impression with the inscription. With 
margin trimmed to the engraved border. <A printer’s 

crease in the centre. _ 


PIETER VAN GUNST. | 

1667-1724. | 

Dutch painter-engraver born in Amsterdam, where he produced | 
most of his plates. 


211 JOHANNES-BARO DE CHURCHILL. 
Line-engraving after A. van der Werff. Andresen 
Bi No. 8. Very fine impression with the inscription. With 
$ margin showing the plate-mark. A tear in the inscrip- — 
. tion space. The engraving has been folded and pressed 
wr’ out. 
42 


212 WILHELMUS III. 
PR Line-engraving by J. Brandon. Very fine impression 
with the inscription. With small margin showing the 
plate-mark. 


213 QUEEN MARIA. 


Line-engraving after J. Brandon. Impression with the 

e re inscription. With small margin showing the plate- 
mark. The lower left corner is torn off and there are 
a few tears along the edges. 


WENZESLAS HOLLAR. 
1607-1677. | 
Pupil of M. Merian. Travelled through Germany making plates of 
views of towns, and at this occasion was introduced to the Duke of 
Arundel, at that time ambassador to Emperor Ferdinand II. The duke 
recognized his genius and induced Hollar to go with him to England, 
where he engraved most of his plates. 


214 THE CATHEDRAL OF ANTWERP. 


Painter-etching. Parthey No. 824. Fine early impres- 
i Mae sion, but closely trimmed to the engraved surface. A 

printer’s crease through the centre and the right lower 
MAY corner slightly repaired. 


215 THE CATHEDRAL OF STRASSBURG. 
Painter-etching. Parthey No. 892. Very fine early 
10 — impression on paper with the water-mark ‘‘arms of 
Ooh Amsterdam.’’ With small margin just showing the 
plate-mark. A printer’s crease through the lower part. 


216 THE ROYAL EXCHANGE LONDON. 
50 Painter-etching. Parthey No. 1036. Second state. Fine 
4 y a impression with the portrait of Thomas Gresham, but 
before the coat-of-arms of Great Britain was substi- 
Tortie tuted for the dedication. Closely trimmed to the en- 
‘ graved surface. . 


217 PIETRO ARETINO. 


Etching after Titian. Parthey No. 1348. Very fine 
ew impression on paper with the water-mark ‘‘two large 

interlaced Cs.’’ With small margin, lacking the plate- 
4,43. mark. Rare in such fine condition. 


43 


218 THOMAS DUKE OF ARUNDEL. 


i Etching after A. van Dyck. Parthey No. 351. Very 
fine impression with very small margin, lacking the 
; plate-mark. A tear skilfully repaired and two folds 
tH strengthened. 

From the S. Addington Collection. 


219 ROBERT DEVEREUX EARL OF ESSEX (on horse- 
' back). 


46 —  Painter-etching. Parthey No. 1400. Very fine im- 
pression with the address of Peter Stent. Closely 
trimmed to the engraved surface except at the bottom, 
where the complete inscription margin remains. 


220 THOMAS HOBBES. 


Etching after J. B. Caspar. Parthey No. 1417. Fine 
3 — impression with ‘‘Aetatus suae .... 1679.” With 
small margin lacking the plate-mark, but with the full 


Qust’ inscription space. 


221 PORTRAIT OF THE ENGRAVER. 


Painter-etching. Parthey No. 1419. First state, before 
4 — the birds and before the drapery over the city. Fine 
impression with margin showing the plate-mark. 
mae 


222 ANOTHER PORTRAIT OF THE SAME. 


Painter-etching. Parthey No. 1420. Very fine early 
q -—~ impression, with margin lacking the plate-mark. 
From the Thos. Thane Collection. 


223 CHARLES II OF ENGLAND. 


Etching after Diepenbecke. Parthey No. 1444. Very 
‘a fine early impression with small margin just showing 
the plate-mark. | 


224 MADAME KILLEGRY. | 
Etching after A. van Dyck. Parthey No. 1449. Very 


6 = hide good impression on paper with the water-mark ‘*‘ Arms 
of Amsterdam.’’ With small margin just showing the 
plate-mark. 


From the J. Marshall and Robt. Hoe Collections. 
44 


225 PHILIP 4TH EARL OF PEMBROKE. 


Etching after A. van Dyck. Parthey No. 1481. Fine 
eas early impression before Peter Stent’s address, closely 
trimmed to the engraved surface, but with the complete 
inscription margin. A tear on the lower left repaired. 

From the A. Morrison Collection. 


226 COUNTESS OF PORTLAND. 
Etching after A. van Dyck. Parthey No. 1484. Fine 
oo impression before the address of Joannes Meyssens was 
Qneder burnished out. On paper with the ‘‘Folly,’’ with very 
large margin. 


227 ANOTHER IMPRESSION OF THE SAME. 
Still finer than the foregoing. On the same paper. 
q — With margin showing the plate-mark. 
; Duplicate of the Amsterdam Print Room. 


228 HENRY HOWARD COUNT OF SURREY. 


Etching after Hans Holbein. Parthey No. 1509. Fine 
(seo early impression on paper with the ‘‘Folly’’ water- 
mark. Closely trimmed to the engraved surface ex- 
hyedsir, cept at the bottom, where the complete inscription 
margin is preserved. Rare in such condition. 


229 ROBERT EARL OF WARWICK. 


se Painter-etching. Parthey No. 1518. Fine early im- 
J pression, closely trimmed to the engraved surface, but 
Gp showing the complete inscription margin. 


230 ALATHEA TALBOT COUNTESS OF ARUNDEL. 


Etching after A. Durer. Parthey No. 1536. Good im- 

[6 — pression on paper with the water-mark ‘‘Hagle in a 
circular border.’’ With small margin just lacking the 
plate-mark. 


231 ‘“‘THE GOOD COUNTESS” OF KENT. 


Etching after F. Ferd. Parthey No. 1539. Very fine 
la- impression with margin showing the plate-mark. 
CATHERINE OF ARAGON. 


Wes Etching after Hans Holbein. Parthey No. 1549. Fine 
impression with margin showing the plate-mark. (2) 


45 


232 FIVE MUFFS, GLOVES, ETC. 


Painter-etching. Parthey No. 1951. Fine early im- 
ey case pression, with small margin showing the plate-mark. 


SLEEPING NYMPH. 


Painter-etching. The figure is engraved by Pontins. 
Parthey No. 277. Very fine, early impression before 
‘“P. Pontius sculp.’’? With margin showing the plate- 
mark. Very rare. 

From the Thos. Thane and W. Esdaile Collections. 


Mus 
HENDRICK HONDEES, the Younger. 
1580-1648. 


Painter-engraver born in London. Produced line-engravings 
in England and Amsterdam. 


233 QUEEN ELISABETH.. 
eee Line- -engraving after his own drawing. Leblane No. 6. 
4 Very fine impression with the inscription. With margin 
Quod showing the plate-mark. 


ROMEYN DE HOOGHE. 
1638-1708. 


Dutch painter-engraver who produced some very interesting 
etchings and line-engravings. 


234 PORTRAIT OF THE ENGRAVER. 


fie Line-engraving by J. Houbraken after H. Bos. Very 
fine impression with the inscription. With large 


gt , . margin. 


235 DON JUAN OF AUSTRIA. 

Etching after the engraver’s own design. Very fine 
vihaa impression with the inscription. With small margin 
0. Ab showing the plate-mark at the top and bottom only, it 

’ is lacking at the sides. Folded and pressed out. 


236 CORNELIS TROMP. 


Etching after the engraver’s own design. Very fine 
/0 — impression with the inscription. With small margin 
g fh lacking the plate-mark. 


46 


237 WILLIAM, PRINCE OF ORANGE. 
46 Etching after the engraver’s own design. Very fine im- 
6 sae pression with the inscription. With small margin lack- 
fr’ ing the plate-mark. 


From the collection of Dr. Franken. 


238 THE MARRIAGE OF WILLIAM AND MARIE KING 
AND QUEEN OF GREAT BRITAIN. 

6- Etching after the engraver’s own design. Very fine 
impression with the inscription and with text in type 
at the bottom. With small margin lacking the plate- 
mark. <A small tear on the right side. 


239 LUDOVICUS WOLZOGEN. 
st a Etching after the engraver’s own design. Very fine 


impression with the inscription. With small margin 
showing the plate-mark. 


240 ORANGIEN WONDERSPIEGEL. 
Etching after the engraver’s own design. Very fine 


A ime impression with the inscription. The margin trimmed 
gi A to the engraved border. 


PIETER HOLSTEYN. 
About 1580-1662. 


Dutch painter-engraver; born in Schleswig, but was working in Harlem 
from 1602 to 1661. 


241. JACOB VAN DER BURCH. 
Line-engraving after G. Ter Burch. Leblanc No. 1. 
l[-— Very fine proof with the artists’ names, only. With 


small margin showing the plate-mark. The inscription 
is written in ink. 


HIERONYMUS HOPFER. 
First part of XVIth Century. 


German painter and etcher, probably a brother of Daniel, was working 
in Augsburg from 1520 to 1530. 


242 ERASMUS OF ROTTERDAM. 


Painter-etching. Bartsch No. 62. First state. Before 
%$ — the numero. Strong impression. 


4 A. AT 


FRANS HUYS. 
Second part of XVIth Century. 


Designer and engraver working at Antwerp between the years 1550 
and 1570. He engraved a number of portraits and also various other 
subjects. 


~ 2438 QUEEN MARY I. OF ENGLAND. 
Line-engraving. Nagler No. 7. A very early impres- 
0 — sion on paper with the water-mark ‘‘Small ornamented 
pitcher.’’ Trimmed to the engraved surface. VERY 
RARE. 
Companion to No. 244. 


244 PHILIP II OF SPAIN. 1555. 
Line-engraving. Nagler No. 7. An unusually fine 
G impression on paper with the water-mark ‘‘Jumping 
dolphin.’’ With large margin. <A printer’s crease 
reaching from the left edge to the right shoulder of 
the personage. EXTREMELY RARE. 
Sie Companion to No. 243.° 


PETER ISSELBURG. 
About 1580-1630. 


German painter-engraver born in Cologne. He was a pupil of 
J. von Sandrart and G. Sadeler. 


245 FRANCIS KING OF BOHEMIA. 


Line-engraving after the engraver’s own design. 
Leblanc No. 224. Very fine impression with the in- 


ee scription. With small margin lacking the plate-mark. 


ARNOLD DE JODE. 
1638. 


Painter-engraver. Pupil of Pieter de Jode the younger. He worked 
in Holland, Spain, and England. 


246 PETER LELY. 


Line-engraving after himself. Leblanc No. 5. Fine 
2 erg impression with the inscription. With small margin 
showing the plate-mark. 


48 


-— a SS eS 


PIETER DE JODE, Junior. 
1606- 


Belgian painter-engraver born in Antwerp. Pupil of his father; 
was working in Antwerp and Paris. 


247 PORTRAIT OF THE ENGRAVER. 


fo Line-engraving after van Dyck. Leblane No. 88. 
/ — Impression with the inscription after the letters 
**G. H.’’ were burnished out. With small margin lack- 

ing the plate-mark. 


248 MARIE HENRIETTE D’ANGLETERRE. 


Line-engraving after A. van Dyck. Leblane No. 41. 
oes Fine impression with the inscription. With small 
margin trimmed to the plate-mark. 


249 ADOLF DE MEY. AMELIA ELISABETH. BENE- 
DICTUS OXENSTIERNA. 


All line-engravings after A. van Hulle. Fine impres- 
ff ie sions with the inscriptions, but closely trimmed. 


RINALDO ENSLAVED BY ARMIDA. 


Line-engraving after A. van Dyck. Fine impression 
with the inscription. With margin showing the plate- 
mark at top and sides, but lacking it at the bottom. (4) 


GERARD JOLLAIN. 


French painter-engraver who was working in Paris towards 
the second half of the XVIIth Century. 


290 ROBERT DE SORBON. 


Line-engraving after the engraver’s own design. Very 
hs fine impression with the inscription. With small margin 
A ae : (rR Oe 
trimmed to the plate-mark and inlaid. 


From the Soulavie Collection. 
Trrcawe 
49 


CLEMENT DE JONGHE, excudit. 


251 OLIVIER CROMWELL. 


4 — 


Line-engraving after the engraver’s own design. Im- 
pression with the inscription. With small margin 
showing the plate-mark. 


252 PIETER FLORISZ. 


ee 


Line-engraving after the engraver’s own design. Fine 
impression with the inscription. With small margin 
showing the plate-mark. A small piece torn out of the 


Jude upper right corner. 


BARTHOLOMAEUS KILIAN. 
1630-1693. 
Painter-engraver born in Augsburg. He was a pupil of his father, 
Wolfgang, and of M. Merian. 


253 LUDWIG VI. Landgraf von Hessen. 


Ata 


Line-engraving after J. G. Wagner. Leblane No. 33. 
Very fine impression with the inscription. With small 
margin showing the plate-mark. 


204 GEORG WINCKLER. 


Line-engraving after J. Feller. Leblane No. 63. Very 


yy — fine impression with the inscription. With large margin. 


PHILIPP KILIAN. 
1628-1693. 


German painter-engraver born in Augsburg. Son and pupil of 
Wolfgang Kilian. 


255 DUC ALEXANDRE II DE BOURNONVILLE. 


£— 


Line-engraving after M. Merian. Leblane No. 23. Very 
fine proof with the artists’ names only. With margin 


Qs showing the plate-mark. 


256 DAMIAN. 


Ake 


Line-engraving after J. B. de Ruel. Fine impression 
with the inscription. With margin showing the plate- 
mark at top and sides but lacking it at the bottom. 
Has been folded and the lower left corner repaired. 


50 


WOLFGANG KILIAN. 
1581-1662. 


German painter-engraver, born in Augsburg. Younger brother of 
Lukas Kilian and pupil of D. Custos. 


257 GEORG FUGGER. 
Line-engraving after the engraver’s own design. Im- 


(3 pression with the inscription. The frame work is 
engraved by Lucas Kilian. With margin showing the 
plate-mark. 


258 LOTHAR. ARCHBISHOP OF TRIER. 
Line-engraving after the engraver’s own design. 
St Andresen No. 8. Impression with the inscription. 
y With small margin trimmed to the plate-mark. A 
$: : rust hole in the inscription tablet. 


JEAN LANGLOIS. 


1649-about 1712. 
Painter-engraver born in Paris and worked in France and Italy. 


259 MONSIEUR J. LAID. 


Line-engraving after J. Hubert. Impression with the 
inscription. With small margin showing the plate- 
mark. 


ice 


NICOLAS DE LARMESSIN, le pére. 
1636-1694. 
Painter-engraver born in Paris, where he produced his best plates. 


260 MARIE THERESE D’AUTRICHE. 
Line-engraving after the engraver’s own design. Very 
i — fine impression with the inscription. With margin 
4) trimmed nearly to the engraved border. 


« 


MICHEL LASNE. 
1596-1667. 
French painter-engraver, born in Caen. He was a pupil of F. Villa- 
mena and C. Bloemaert and worked in Paris. 


261 PORTRAIT OF THE ENGRAVER. 


Line-engraving by N. Habert after C. Le Brun. Very 
a ag fine impression with the inscription. With large margin. 


Sf. 51 


262 CARDINAL MAZARIN. 


Saas Line-engraving after the engraver’s own design. Very 
oy fine proof with the artist’s name and the date only. 
With small margin lacking the plate-mark. 


‘268 CARDINAL RICHELIEU. 


we Line-engraving after the engraver’s own design. Proof 
3 with the artist’s name only. With margin showing the 


ede plate-mark. 


264 ANOTHER PORTRAIT OF THE SAME. 


Line-engraving after the artist’s own design. Proof 

before letters but with artist’s name. Trimmed to the 

io engraved border and remargined at the top and sides. 

At the bottom the plate-mark is lacking, leaving enough 

Muster space to show the artist’s name only. The engraving 
has been folded. 


PIETER LASTMAN. 
1562-1649. 


Dutch painter and engraver born in Harlem. He was a pupil of 
Gerrit Pieterssen and worked in Amsterdam. 


265 JUDA AND THAMAR. 


Painter-etching. Bartsch (Rembrandt, Vol. II, page 

eet 133) No. 74. Very fine impression on paper with the 
water-mark ‘‘Lily.’’ With small margin showing the 
plate-mark. 


JACOBUS DE LATER. 
1680-— 


Dutch painter-engraver who was engraving mezzotints in London 
toward the end of the XVIIth Century. 


266 WILLIAM III. 


‘0 Mezzotint after the engraver’s own design. Very fine 
ait impression with the inscription. With small margin 
showing the plate-mark. 


52 


4 
rt: 


p 
: 
; ) 
4 
‘ 
: 


| 
| 
| 
; 


GABRIEL LE BRUN. 
1621-after 1657. 


French painter-engraver, born in Paris. He was the brother 
and pupil of Ch. Le Brun. 


267 FRANCOIS DE VENDOME. 


Line-engraving after the engraver’s own drawing. 
pes Leblane No. 5. Impression with the inscription. 
Trimmed to the engraved border and remargined at 
the top and sides, at the bottom cut close to the in- 
scription. 
From the Soulavie Collection. 


JEAN L’ENFANT. 
1615-1674. 


French engraver born in Abbeville. A pupil of C. Mellan 
who was working in Paris. 


268 ANTOINE DE FRESNEL. 


es Line-engraving after the engraver’s own design. Proof 
Wed with the artist’s name only. With large margin. 


From the Soulavie Collection. 


269 LEONOR DE MATIGNON. 


Line-engraving after I. Dreu. Fine proof with the 
4 artists’ names only. With large margin. 
Qys dr . 


DAVID LOGGAN. 


German engraver born in Dantzig. He was a pupil of C. van de Passe 
the younger and worked in England. 


270 CHARLES II. 


Line-engraving after the engraver’s own design. Very 
% ae fine impression with the inscription. With margin 
showing the plate-mark. Has been folded and pressed 


mot out. 


53 


LUCAS VAN LEYDEN. 


1494-1533- 

His real name was Lukas Jacobsz, born in Leyden. He was a pupil 
of his father, Huyg Jacobsz. His engravings rank with those of Diirer 
and Raimondi. Good impressions are exceedingly rare, and sold at high 
prices, even during the lifetime of the artist. 


he 271 PORTRAIT OF THE ENGRAVER. 
bA>. Line-engraving by H. Hondius after v. Leyden. 


272 THE RETURN OF THE PRODIGAL SON. 


on Painter-engraving. Dutuit No. 78. Extremely fine 
24 : ¥ 
A impression on paper with the water-mark ‘‘Quartered 


shield and crown.’’ With very small margin. VERY 
i RARE IN SUCH CONDITION. 


273 THE MUSICIANS. 


wae Painter-engraving. Dutuit No. 155. Fine impression, 
IF closely trimmed, but nothing of the engraved surface 
is lost. 


PIERRE LOMBART. 
About 1620-1681. 
French painter-engraver, born in Paris. He was a pupil of 8. Vouet and 
worked principally in London. 
274 DE LA FOND. 
Dv Line-engraving after H. Gascard. Leblane No. 38. 
Second state. Impression with the inscription. With 
small margin lacking the plate-mark. Foxed. 


275 MARIE MANCINI DUCHESSE DE MAZARIN. 
Sy Tas Line-engraving after P. Lely. Leblane No. 49. Very 
fine impression with the inscription. With small 
443 margin showing the plate-mark. 


276 JOHN OGILVY. 
[— Line-engraving after P. Lely. Very fine impression 
with the inscription. With margin showing the plate- 


wr? mark. 


277 PHILIP COUNT PEMBROKE. 
Line-engraving after A. van Dyck. Very fine impres- 
{0 — sion with the inscription. With small margin showing 
the plate-mark. 
From the A. Morrison Collection. 


54 


ADRIEN LOMMELIN. 
1636-2? 


French engraver, born in Amiens and worked in Antwerp, 
particularly for Rubens. 


278 HENRI IV OF FRANCE. 


nr Line-engraving after the engraver’s own design. Very 
fine impression with the inscription. With margin 
Re } : showing the plate-mark. 
JACQUES LUBIN. 
1637-after 1694. 
French painter-engraver, born in Paris. He was a pupil of 
G. Edelinck. 
279 LOUIS DE CREVENT. 
i Line-engraving after F. Voet. Superb proof before all 
letters. With margin showing the plate-mark. 
ANTOINE MASSON. 
1636-1700. 

He was brought up as an armorer and first exercised the burin in 
engraving ornaments on steel. LEHarly in his life he settled in Paris, 
where he applied himself to drawing with great assiduity. ‘‘ Among 
French masters Masson is conspicuous for brilliant hardihood of style, 
which, though failing in taste, is powerful in effect. Metal, armor, 
velvet, feather, seem as if painted. He is also most successful in the 
treatment of hair. His immense skill made him welcome difficulties, 
as if to show his ability in overcoming them.’’—Charles Sumner, 

280 PORTRAIT OF THE ENGRAVER. 
Line-engraving after P. Mignard. Robert-Dumesnil 
No. 1. First state not mentioned by Dumesnil. The 
8 “5 ornaments of the cartouche traced with the needle— 


before the words ‘‘Né a Orléans et est mort agé de 66 
ans.’’ and with the name of the painter in traced letters. 
Superb proof with small margin lacking the plate-mark. 


The above print contradicts the statement of Dumesnil, who 
says: ‘‘Comme nous n’avons jamais rencontré d’epreuves de 


ce morceau, avant ces mots: ‘né 4a, etc.’ il est probable qu’il 
n’a vu le jour qu’aprés la mort de Masson.’’ 


55 


281 GUILLAUME DE BRISACIER (The Gray-Haired 
Man). 


Iine-engraving after N. Mignard. Robert-Dumesnil 

310 — No. 15. First state. Proof before the name of the 

personage. Superb impression with margin trimmed 

mA to the plate-mark. Slight retouches in the background 
san and on the cloak. In 21% inch black and gold frame. 

‘* Antoine Masson’s undoubted masterpiece, however, from 

an artistic as well as from a technical standpoint, is his beauti- 


ful portrait of the Queen’s Secretary, called ‘The Gray-haired 
Man,’ his masterpiece, and a masterpiece of engraving.’’ 


282 MARIN CUREAU DE LA CHAMBRE. 


§2. Line-engraving after P. Mignard. Robert-Dumesnil 
4 4 No. 24. First state; before the cross-hatching on the 
left cheek. Superb impression with the inscription. 

Hohlo With large margin showing the plate-mark. 


283 PIERRE DUPUIS. 


Line-engraving after N. Mignard. Robert-Dumesnil 

9 = No. 25. First state. Very fine impression with the in- 

| scription before the slip of the graver in the upper 

Pred’ part of the engraving to the right. With small margin 
trimmed almost to the engraved border. 


284 MARIE DE LORRAINE, DUCHESSE DE GUISE, 
Princesse de Lorraine. 


pe Line-engraving after P. Mignard. Robert-Dumesnil 

/0 No. 32. Fifth state. The words ‘‘pinxit, Roma’’ are 

followed by one and two dots. Very fine impression 

LAs with the inscription. With margin showing the plate- 

mark. <A printer’s crease in the lower part of the 
engraving. 


285 HENRI DE LORRAINE, COMTE D’HARCOURT 
called ‘‘le cadet 4 la Perle.’’ 


Fat Line-engraving after N. Mignard. Robert-Dumesnil 
A 7 No. 34. Second state; before the ‘‘4’’ on the left mar- 
gin, and with the word ‘‘prennent”’ spelled ‘‘prenent.’’ 
Superb impression with the inscription. With margin 

showing the plate-mark. 
A MOST MAGNIFICENT IMPRESSION of one of Masson’s master- 


pieces, in perfect state of preservation. 
From the A. F. Didot Collection. 


56 


286 LOUIS LE GRAND (XIV). 


Line-engraving after the engraver’s own design. Robert- 

Dumesnil No. 45. Second state. The head is covered 

with a hat, the ornaments in the angles have dis- 

2107 6 een appeared and the lettering is burnished out. Fine 

impression with a new inscription. With margin show- 

yr’ ing the plate-mark. <A printer’s crease in the left 
f corner. Folded as usual and pressed out. 


287 LOUIS AUGUSTE DUC DU MAINE. 


Line-engraving after the engraver’s own design. Robert- 

[ 6— Dumesnil No. 47. Very fine impression with the in- 

CA. scription. With small margin lacking the plate-mark. 
: Small tears on the left side. 


288 OLIVIER LE FEVRE D’ORMESSON. 


Line-engraving after the engraver’s own painting. 
IE Sees Robert-Dumesnil No. 58. Second state; with locks of 

hair on the forehead. Superb impression with the in- 
Vail scription. With large margins. 


289 HARDOUIN DE BEAUMONT DE PEREFIXE. 


450 Line-engraving after N. Mignard. Robert-Dumesnil 

— No. 61. Second state. With the name of the personage. 
Superb impression with the inscription. With margin 

ger - showing the plate-mark. 

From the C. Pausch Collection. 


MADELEINE MASSON. 
1646-1713. 
French engraver. Sister of A. Masson. She married N. Habert, 
engraver and publisher. 


290 LEOPOLD I, THE GREAT. 


Line-engraving after Ioan Walter. Impression with 
go — the inscription. With small margin lacking the plate- 
mark. Folded and pressed out. 


291. LOUIS DE FRANCE. DUC DE BOURGOGNE. 


Line-engraving after the engraver’s own design. Very 
3 b= fine impression with the inscription. With margin 
trimmed almost to the engraved border. Folded and 
pressed out. 
From the A. Morrison Collection. 


57 


WILLIAM MARSHALL. 
End of XV and first half of XVI century. 


English painter-engraver who was working in London about 1591-1649 
and produced many interesting plates. 


292 ELIZABETH COUNTESS OF HUNTINGDON. 


Line-engraving after the engraver’s own design. Caul- 
3 field page 90. Very fine impression with the inscrip- 
tion. The margin trimmed to the engraved border. 


JAKOB MATHAM. 
1571-1631. 
Dutch painter-engraver, born in Harlem. He was a pupil of Goltzius. 


293 ADAM AND EVE EATING THE FORBIDDEN 


FRUIT. 
Line-engraving after H. Goltzius. Dutuit No.. 1. 
Meat Second state. The figure of God is burnished out from 


the aureole to the right. Laid down. 


A FAUN HAVING A THORN REMOVED FROM 
HIS FOOT. 

Line-engraving by Jan Muller after B. Spranger. 

Bartsch No. 71. Second state. The inscription is 

changed from ‘‘Sympathos haud ete.’ to ‘‘Nil invat 

etc.’’? With margin showing the plate-mark. 


THE MASS OF ST. GREGORY. 
Line-engraving by Jan van Doetechum after Jan 


Gossaert. Andresen No. 1. With small margin show- 
ing the plate-mark. (3) 


294 MAXIMILIEN DE BETHUNE DUC DE SULLY. 
Line-engraving after Du Bois. Bartsch No. 25. Evi- 
dently a second state. The inscriptions below the 

cael bottom border-line are ‘‘ Paules. de la Houue excudebat. 
1614. Du Boys pinxit. Auec Priuilege du Roy’’ and 
Irederr not ‘‘Cum privil. Sa Cae. M. Jac. Matham seulp. Paules, 
de la Houue excudebat. 1612.’’ The size of plate is 
correct. Extremely rare. 
From the Sr. John Dent and E. Martin Collections. 


295 LA PEINTURE. 


40 Line-engraving after Guido Reni. Very fine proof be-. 
m ron fore all letters. With very large margin. 


58 


CLAUDE MELLAN. 
1598-1688. 


Eminent French draughtsman and engraver, born at Abbeville. 
Studied engraving under Simon Vouet and later went to Rome, where he 
engraved quite a number of plates. After his return to Paris he 
adopted a singular method of engraving, working with single parallel 
lines, without any cross-strokes, the variety of light and shade being 
rendered by variations in the thickness of the lines. 


296 PORTRAIT OF THE ENGRAVER. 


Line-engraving after the engraver’s own design. 
37 Montaiglon No. 1. First state before the reduction 
of the plate and the alteration in the title. Impression 
Syed with the inscription. With very small margin lacking 
the plate-mark. 


297 THE SUDARIUM OF ST. VERONICA. 


Line-engraving after the engraver’s own design. 
Bi Montaiglon No. 25. Second state. Impression with 
q the inscription and with the break in the plate on the 
left. With small margin trimmed to the plate-mark. 
An inscription on the lower right corner has been 

erased. 


Engraved by Mellan from his own design, in a single spiral 
line. One of the curiosities of engraving. 


298 NICOLAS FOUQUET. 
Line-engraving after the engraver’s own design. 
{! ~  Montaiglon No. 187. Third state. With the date 
**1660’’ added to the plate. Fine impression with the 
weer inscription. With margin showing the plate-mark. 


299 HENRI LOUIS HABERT DE MONTMOR. 

—  khine-engraving after the engraver’s own design. 
{3 Montaiglon No. 194. Impressed with the inscription. 
Muar With margin showing the plate-mark. 


300 CARDINAL MAZARIN. 
Line-engraving after the engraver’s own design. 
/5- ~~ Montaiglon No. 211. First state, before the reduction 


Suede of the plate and with the artist’s name. With margin 
trimmed to the plate-mark. 


301 GABRIEL NAUDE. 
Line-engraving after the engraver’s own design. 
aa Montaiglon No. 218. Impression with the inscription. 
With margin lacking the plate-mark. At the bottom 
use it is trimmed closely to the engraved border. 


59 


302 ANNE D’AUTRICHE. 
/6 — Line-engraving after the engraver’s own design. 
Montaiglon No. 245. Impression with the inscription. 
ye’ The margin trimmed to the engraved border. 


303 HENRIETTE MARIE DE BUADE-FRONTENAC. 
ee Line-engraving after the engraver’s own design. 
Ab Montaiglon No. 247. Fourth state. With Vanheck’s 
me dlY address. Impression with the inscription. With margin 
showing the plate-mark. 


304 CARDINAL DE RICHELIEU. 
Line-engraving after the engraver’s own design. 
hes Montaiglon No. 320. First state; before the title on 
ms the book. Very fine impression with the inscription. 
yee’ With margin showing the plate-mark. 


PIERRE ETIENNE MOITTE. 
1722-1780. 


French line-engraver, born in Paris. He was a pupil of 
Beauvarlet and Beaumont. 


305 DUHAMEL DU MONCEAU. 
40 Line-engraving after Dronais le fils. Superb proof 
i before all letters. With very large margin. 


b 


JEAN MORIN. 
About 1590-1650. 


Morin began his career as a painter, but afterwards took to engraving. 
First he studied under Ph. de Champaigne, after whom many of 
plates were engraved. His plates are done in a mixed style, partly etch- 
ing, partly burin work, using the dotted manner for the flesh. 


306 ANNE D’AUTRICHE. 
10 — Engraving after P. de Champaigne. Robert-Dumesnil 
No. 40. Impression with the inscription. With margin 
Q/4Y* trimmed to the plate-mark. A small tear in the right 
side. 


307 CARDINAL GUIDO BENTIVOGLIO. 


h-— Engraving after A. van Dyck. Robert-Dumesnil No. 
ok 43. Impression with the inscription. The margin 


Kopp trimmed to engraved surface and inlaid. 
60 


312 


315 


ho - 


PIERRE DE BERTIER. 


Engraving after P. de Champaigne. Robert-Dumesnil 
No. 44. Second state; with the artists’ names. Very 
fine impression with very large margin. 


SAINT CHARLES BORROMEE. 


Engraving after Ph. de Champaigne. Robert-Dumesnil 
No. 45. Impression with the inscription. The margin 
trimmed to the engraved surface. 


N. CHRYSTIN. 


Engraving after A. van Dyck. No. 51. Very fine 
impression with large margin. 


JEROME FRANCK. Painter. 


Engraving after himself. Robert-Dumesnil No. 52. 
Second state; with the title. Very fine impression with 
the inscription. With margin showing the plate-mark. 


FRANCOIS POTIER, MARQUIS DE GESVRES. 


Engraving after Ph.de Champaigne. Robert-Dumesnil 
No. 53. Impression with the inscription. With small 
margin lacking the plate-mark. 


JHAN FRANCOIS PAUL DE GONDY. 


Engraving after Ph. de Champaigne. Robert-Dumesnil 
No. 54. Impression with the inscription. With small 
margin lacking the plate-mark. 


ANNE SOPHIE HERBERT; COMTESSE DE 
CARNARVON. 


Engraving after A. van Dyck. Robert-Dumesnil No. 
56. First state; before the painter’s name was bur- 
nished out. Superb impression. With margin show- 
ing the plate-mark. 


HENRI II. 

Engraving after F. Clouet Janet. Robert-Dumesnil 
No. 50. Fine impression with the inscription. With 
very small margin trimmed almost to the engraved 


Keppel border. 


61 


316 HENRI IV. 


ee Engraving after Ferdinand. Robert-Dumesnil No. 60. 
Superb impression with the inscription. With large 
qual’ margin showing the plate-mark. 


317 MARGUERITE LEMON. 
Dis Engraving after A. van Dyck. Robert-Dumesnil No. 
po 62. Second state; with the artists’ names. Very fine 
impression with small margin, lacking the plate-mark. 


318 LOUIS XIII KING OF FRANCE. 
ete Engraving after Ph. de Champaigne. Robert-Dumesnil 
| A No. 64. Impression with the inscription. With small 
ray cae margin lacking the plate-mark. 
From the Collection Fagan No. 277. 


319 PIERRE MAUGIS DES GRANGES. 
NS Engraving after Ph. de Champaigne. Robert-Dumesnil 
{0 No. 67. Impression with the inscription. With small 
yy: margin lacking the plate-mark. 
f From the Chev. J. de Franck Collection. 


820 CARDINAL DE MAZARIN. 
Engraving after Ph. de Champaigne. Robert-Dumesnil 
Jd an No. 68. First state; before the name of the personage 
was burnished from the border. Very fine impression 
mu with large margin. 


321 OMER TALON. 
Engraving after Ph. de Champaigne. Robert-Dumesnil 
aT “No. 74. Second state; before the cross-hatching on the 
sleeve, before the title in the margin, but with the 
ip" artists’ names. Superb proof with large margin. With 
Talon’s signature on the back. 


322 DOM JEAN GREGOIRE TARRISSE. 
us Engraving after F. Donstan. Robert-Dumesnil No. 75. 
if b Superb impression with the inscription and with small 
margin lacking the plate-mark. 


323 AUGUSTIN DE THOU. 

ae Engraving after the engraver’s own design. Robert- 
[|e Dumesnil No. 77. Very fine impression with the in- 
| scription. With small margin trimmed to the plate- 
Cord mark at the top and sides, but showing it at the bottom. 


62 


324 CHRISTOPHE DE THOU. 


ore Engraving after the engraver’s own design. Robert- 
[5 Dumesnil No. 78. Superb impression with the inscrip- 
tion. With untrimmed margin (deckel edges). 


329 JACQUES AUGUSTE DE THOU. 


Engraving after Ferdinand. Robert-Dumesnil No. 79. 

24 a Second state; with the three wrinkles on the forehead. 
Very fine impression with the inscription. With small 
margin showing the plate-mark. 


326 JEAN DU VERGER DE HAURANNE. 


Engraving after Ph. de Champaigne. Robert-Dumesnil 

13 ae No. 82. Second state; the frame and base represent 
marble. Very fine impression with the inscription. 
With large margin. 


327 ANTOINE VITRE. 


Engraving after Ph. de Champaigne. Robert-Dumesnil 
[6 — No. 88. Third state; with the cross-hatching on the 
right ear. Impression with the inscription. With large 


yee = margin. 


328 MARIE DE MEDICIS. 


o Engraving after Pourbus. scribed to J. Morin. 
[l Robert-Dumesnil—page 79—No. 4. Impression with 


qed the inscription. The margin trimmed to the engraved 
surface. Laid down. 


MICHEL MOUZIJN. 
1630-? 


Dutch engraver, born in Amsterdam, where he 
produced most of his plates. 


3829 CORNELIS TROMP. 


Line-engraving after G. van den Keckhout. Leblane 
i No. 25. Fine impression with the inscription. With 

small margin showing the plate-mark. Folded and 
Wes repaired. 


63 


Dutch engraver of great talent, born in Amsterdam, where he studied 
the art of the graver. One of the ablest pupils of H. Goltzius. 


} 330 ALBERT. ARCHDUKE OF AUSTRIA. 


hee 
ae 


331 ISABELLA CLARA EUGENIA, INFANTA so : 


JO fi 


a 


~ 832 JOHANN NEYER. 


es 


JAN MULLER. 
1570-1625. 


Line-engraving after P. P. Rubens. Leblane No. 69. 
Third state with the words ‘‘cum privileg.’’ on the 
right. Superb impression with the inscription. With 
untrimmed margin (deckel edges). 


SPAIN. 


Line-engraving after. P. P. Rubens. Leblane No. 70. 
Third state. With the words ‘‘Cum privileg.’? Superb 
impression with the inscription. With untrimmed — 
margin (deckel edges). | 


Line- -engraving after J. M. Mierveldt. Leblane No. 87. 

Very fine impression with the inscription. With small 
margin lacking the plate-mark. Folded, pressed out 
and repaired. perk 


THIRD SESSION 
Friday Evening, March 16, 1917, at 8:15 o’clock 


LOTS 333-525 


ROBERT NANTEUIL. 
1623-1678. 


Celebrated French engraver who painted the portrait of Louis XIV 
and was appointed designer and engraver to the Royal cabinet. He 
applied himself to engraving in the style of C. Mellan but in 1650 
adopted one infinitely superior, which in clearness and beauty of effect 
has never been surpassed. Many of his portraits were drawn from life 
and are so true and so artistic that they are highly esteemed by collectors. 


303 PORTRAIT OF THE ENGRAVER. 
Line-engraving by G. Edelinck after R. Nanteuil. 


eae Robert-Dumesnil No. 282. Second state. Fine impres- 
sion with the inscription, but before ‘‘se ipse’’ was 
HA. changed to ‘‘se ipsu.’’ With small margin showing 


the plate-mark. 


3384 ANOTHER PORTRAIT OF THE SAME. 


a Etching finished with the graver by A. Romanet after 
/U R. Nanteuil. Very fine impression with the inscription. 
golf With large margins but lacking the plate-mark. 


38385 ANNE D’AUTRICHE. 
Line-engraving after the artist’s own painting. Robert- - 
Y/ — Dumesnil No. 23. First state; before the crochet follow- 
ing the date. Magnificent impression with the inscrip- 
tion. With margin showing the plate-mark at the top 

and bottom, trimmed closely to it on the sides. 


836 SIMON ARNAUD DE POMPONNE. 
50 Line-engraving after the artist’s own painting. Robert- 
‘s 7 -— Dumesnil No. 24. Impression with the inscription. 
With margin trimmed to inside the-engraved surface. 
44 Folded, pressed out and mounted. In 2-inch black 
. frame. 


65 


ANTOINE BARRILLON DE MORANGIS. 


Line-engraving after the artist’s own design. Robert- 
Dumesnil No. 31. Only one state. Very fine impres- 
sion with the inscription. With small margin showing 
the plate-mark. 


ETIENNE JEHANNOT DE BARTILLAT. 


Line-engraving after the artist’s own design. Robert- 
Dumesnil No. 32. First state; before the date was 
changed from ‘‘1666’’ to ‘‘1668,’’ before the casque on 
the escutcheon was replaced by a crown and the letters 
K. J. D. B. were added in the angles. Very fine im- 
pression with the inscription. With small margin lack- 
ing the plate-mark. 


_ POMPONE DE BELLIEVRE. 


Line-engraving after C. Le Brun. Robert-Dumesnil 
No. 36. Second state; with the crochet after ‘‘Scul- 
pebat.’’ Superb impression with the inscription. With 
small margin lacking the plate-mark. 


ANOTHER ENGRAVING OF THE SAME. 


Line-engraving by Madame Beauvarlet. Superb proof 
before all letters, with very large margin. 


MARIE DE BRAGELOGNE. 
Line-engraving after the artist’s own design. Robert- 
Dumesnil No. 57. Third state; with the two dots and 
the dash below the coat-of-arms. Superb impression 
with the inscription. With large margin. 
From the Sagert Collection. 


JEAN CHAPELAIN. 


Line-engraving after the artist’s own drawing. Robert- 
Dumesnil No. 60. Fourth state; the two dots in the 
upper right corner have disappeared. Very fine im- 


Yropirm pression with the inscription. With small margin 


343 


1p 


showing the plate-mark at the top and sides but lack- 
ing it at the bottom. 


JEAN BAPTISTE COLBERT. 
Line-engraving after Ph. de Champaigne. Robert- 
Dumesnil No. 71. First state; the date is followed by 
only one dot and before ‘‘71’’ in the lower margin. 
Very fine impression with the inscription. With small 
margin lacking the plate-mark. 


66 


344 ANOTHER PORTRAIT OF THE SAME PERSON- 
AGE. 
50— _— Lime-engraving after Ph. de Champaigne. Robert- 
Dumesnil No. 72. First state; before the two dots 
Hopp! following the crochet were separated by a dash. Fine 
impression with the inscription. The margin trimmed 
to the engraved surface. 


345 LOUIS II DE BOURBON, PRINCE DE CONDE. 


ae Line-engraving after the artist’s own design. Robert- 
Dumesnil No. 79. Only one state. Very fine impres- 
gy . sion with small margin lacking the plate-mark. 
: From the John Young Collection. 


346 HONORE COURTIN. 


Line-engraving after the artist’s own painting. Robert- 
LO Dumesnil No. 80. First state; before the inscription. 

Very fine impression with small margin lacking the 
(Oy plate-mark. 


From the collections of Sir A. Westcomb and Capt. A. Don- 
nadieu. 


347 JEAN LOUIS CHARLES D’ORLEANS-LONGUE- 
VILLE COMTE DE DUNOIS. 


6£0— Iine-engraving after Ferdinand. Robert-Dumesnil 
No. 86. Only one state. Superb impression with the 
Kapp! inscription. With large margin showing the plate- 
mark. 
From the Capt. A. Donnadieu Collection. 


348 HENRI JULES DE BOURBON DUC D’ENGHIEN. 


1s Line-engraving after Mignard. Robert-Dumesnil No. 
l ji 90. Only one state. Impression with the inscription. 
at With small margin lacking the plate-mark. 


349 GUILLAUME DE LAMOIGNON. 


50 Line-engraving after the artist’s own design. Robert- 
17 core Dumesnil No. 120. Only one state. Very fine impres- 
Wud sion with small margin showing the plate-mark. 


390 MICHEL LE TELLIER. 
Line-engraving after the artist’s own drawing. Robert- 
40 — ODumesnil No. 131. Only one state. Very fine impres- 
sion with the artist’s name. With small margin 
Kappel trimmed to the plate-mark at top and sides, but showing 
it at the bottom. 
From the collections of A. Firmin Didot and J. Marshall. 


67 


dol 


CHARLES MAURICE LE TELLIER. 


Line-engraving after the artist’s own painting. Robert- 
Dumesnil No. 138. Only one state. Very fine impres- 
sion with the inscription. With small margin showing 
the plate-mark. A small tear in the upper left corner. 


ANOTHER PORTRAIT OF THE SAME. 


Line-engraving after the artist’s own design. Robert- 
Dumesnil No. 142. Only one state. Impression with 
the inscription. With small margin lacking the plate- 
mark. Folded and pressed out. 


HENRI AUGUSTE DE LOMENIE DE BRIENN#. 


Line-engraving after the artist’s own design. Robert- 
Dumesnil No. 148. First state; before the name of the 
personage. Very fine impression with the artist’s name. 
With small margin lacking the plate-mark. Laid down. 


JEAN LORET. 


Line-engraving after the artist’s own design. Robert- 
Dumesnil No. 150. Second state; with the crochet fol- 
lowing the date, but before the comma following 
‘‘Loret’’ in the verses. Very fine impression with the 
inscription. With very large margin. 


LOUIS XIV. 
Line-engraving after the artist’s own painting. Robert- 
Dumesnil No. 153. Third state; with three lines fol- 


lowing the crochet of the date and with the comma 


- after ‘‘amans’’ in the seventh vers. Very fine impres- 


sion with the inscription. With small margin lacking 
the plate-mark. Folded and pressed out. 


From the Boucher Collection. 


ANOTHER PORTRAIT OF THE SAME. 


Line-engraving after the artist’s own painting. Robert- 
Dumesnil No. 157. First state; before the letter ‘‘C’’ 
in the upper part of the border, before the two dots 
following the ‘‘R,’’ and before the hyphen between the 
words ‘‘et’’ and ‘‘excudebat.’’ Very fine impression 
with the inscription. With small margin lacking the 
plate-mark at the bottom, trimmed closely to the en- 
eraved surface at the top. At the sides the engraving 
has lost about an inch, which has been skilfully re- 
paired. In 3-inch black and gold frame. 


68 


3gof ANOTHER PORTRAIT OF THE SAME. 


Ho - | 
mn - 


Line-engraving after the artist’s own design. The 
ornamentation was drawn by C. Le Brun, and engraved 
by G. Rousselet. Robert-Dumesnil No. 158. The upper 
of the two plates. Second state; with the date 1667. 
Impression with the inscription. The margin trimmed 
to the engraved surface and remargined. Folded and 
pressed out; tears in the center of the engraving. 
From the 8S. Lieutaud Collection. 


308 ANOTHER PORTRAIT OF THE SAME. 


A ae 


Higepor” 


Line-engraving after the artist’s own design. Robert- 
Dumesnil No. 159. First state; before the dedication. 
Very fine impression with the artist’s name. With 
small margin lacking the plate-mark. The impression 
has been torn and folded in several places and is re- 
paired and pressed out. 


309 LOUISE MARIE DE GONZAGUE, REINE DE 


Bee 


Ind 


POLOGNE. 


Line-engraving after Juste. Robert-Dumesnil No. 164. 
First state; before the lozenge preceding the name 
‘‘Louyse’’ was replaced by a rosette. Superb impres- 
sion with the inscription. With small margin trimmed 
to the plate-mark. 


360 ANOTHER IMPRESSION OF THE SAME. 


ay® 
Insaer- 


In the same state but the margin trimmed to engraved 
surface. 


361 JEANNE MARIE BAPTISTE DE SAVOIE NE- 


dd 
m 


MOURS DUCHESSE DE SAVOIE. 


Line-engraving after Laurent du Sour.  Robert- 
Dumesnil No. 169. Second state; with ‘‘pendant la 
minorité de son fils’’ added to the title. Superb im- 
pression with the inscription and small margin showing 
the plate-mark. 


362 CARDINAL MAZARIN. 


75 
Onde 


- Line-engraving after the artist’s own design. Robert- 


Dumesnil No. 174. First state; before the cross- 
hatchings on the face and before the additional work 
in the corners. Superb impression with small margin 
showing the plate-mark. 


69 


363 ANOTHER PORTRAIT OF THE SAME. 


g0- Line-engraving after Van Mol. Robert-Dumesnil No. 
175. First state; before the name of the personage. 
Q,4- Superb impression with very large margin. 


364 NICOLAS POTIER DE NOVION. 


_ lLine-engraving after the artist’s own design. Robert- 
65 —  Dumesnil No. 207. First state; before the crochet 
following the date 1664. Superb impression with small 
Lipp? - Imargin showing the plate-mark. 
From the Count Harrach collection. 


365 PHILIPPE, FILS DE FRANCE DUC D’ORLEANS. 


Line-engraving after the artist’s own design. Robert- 

150 — - Dumesnil No. 208. First state; before the dot and the 

crochet following the word ‘‘Regis.’’ Very fine im- 

Tapper pression with margin showing the plate-mark at top 

and sides, at the bottom it is trimmed to the engraved 
surface. Folded and pressed out. 


366 HARDOUIN DE PEREFIXE DE BEAUMONT. 
_  line-engraving after the artist’s own painting. Robert- 
25° ~~—~‘Dumesnil No. 213. Only one state. Superb impression 
| with the inscription. With small margin showing the 
We ff. plate-mark. 


3867 CLAUDE REGNAULDIN. 


Line-engraving after the artist’s own design. Robert- 

Go —  Dumesnil No. 216. First state; the date followed only 

by one dot and without the separate plate with the 

Tapp! verses. Very fine impression with the inscription. With 
small margin trimmed to the plate-mark. 


368 GEORGES DE SCUDERI. 
Line-engraving after the artist’s own drawing. Robert- 
iD pe Dumesnil No. 221. First state; before the plate was cut 
4 oval. Superb impression with the inscription. With 
+i he 4° large margin showing the plate-mark. 


368A PIERRE DU CAMBOUT DE COISLIN. | 


Line-engraving ascribed to R. Nanteuil. Robert- 

A? —~  Dumesnil page 185 No. 3. Only one state. Very fine 

/ impression with the inscription. With small margin 
A/S showing the plate-mark. 


70 


JEAN PIERRE NORBLIN DE LA GOURDAINE. 
1745-1830. 


Painter and etcher. Pupil of Casanova and follower of Rembrandt. 
He was born at Misy, near Sens, in Burgundy. He worked in Poland 
and returned to France, where he died. 


369 CHRIST PRESENTED TO THE PEOPLE. 
Painter-etchinge in Rembrandt’s manner. Andresen 


as No. 4. Very fine impression with much burr. With 
b small margin showing the plate-mark. Laid down. 


+e 


PIETER PHILIPPE. 


A Dutch painter-engraver who was working at The Hague 
from 1660 to 1670. 


370 UN GRAND REPAS EN HOLLANDE. Prince Charles, 
afterward King Charles II of England, visiting his 
sister Mary in Holland. 

Line-engraving after Jacob von Toornvielt. Leblane 

No. 5. Good impression with small margin but lacking 

the plate-mark. 

From the collection marked J. N. B. in a lozenge. 


var aie 


_ETIENNE PICART (called le Romain). 
1632-1721. 


French painter-engraver who was born in Paris and died in Amsterdam. 


871 FRANCOIS ATHENAIS DE ROCHECHOUART- 
MONTESPAN. 
ge Line-engraving after the artist’s own design. Leblanc 
No. 64. Superb impression with the inscription. With 
Init large margin showing the plate-mark. 


3872 CHARLES ARMAND DE LA PORTE. 


Line-engraving after Antoine Paillet. Very fine im-_ 
lo- pression before the title. With small margin showing 


the plate-mark. 
# } 71 


NICOLAS PITAU. 
1633-1676. 


Painter-engraver born in Paris, where he worked and died. ‘He was 
the son of J. Pitau, the Dutch engraver. 


373 POPE ALEXANDRE VII. 


_  Lime-engraving after P. Mignard. Leblane No. 27. 
3 - Very fine impression with small margin trimmed to the 
plate-mark. Folded and pressed out. 


374 MARIE THERESE D’AUTRICHE. 


Line-engraving after Baubrun. Leblanc No. 42. Superb 
{ — impression before the title. With margin showing the 
/ 
plate-mark. 


375 CAMILLE LILIO DE CAMERINO. 


Line-engraving after J. Daret. Leblane No. 48. Very 
oo _— fine impression with the inscription. With small margin 
lacking the plate-mark. 


FRANCOIS DE POILLY. 
1622-1693. 


French painter-engraver born in Abbeville. He was a pupil of 
P. Daret and died in Paris. 


376 PORTRAIT OF THE ENGRAVER. 
Line-engraving by J. L. Roullet after F. de Poilly.. 
Fine impression with the inscription, with margin 
3 fr, lacking the plate-mark. 


From the Collection of Gilbert ainé. 


ome 


377 LOUIS XIV WITH ALLEGORICAL FIGURES. ~ 

Re: Line-engraving after P. Mignard. Leblane No. 91. 
¥ Very fine proof before all letters. With margin show- 
WY ing the plate-mark. Folded and pressed out. 


378 GUILLAUME DE LAMOIGNON. 
50 Line-engraving after Charles Le Brun. Leblane No. 
BE nie: 93. Fine impression with the inscription. With small 
margin lacking the plate-mark at top and bottom, 
we #/. trimmed to the engraved surface at the sides. 


72 


/ 
E 
: 
‘ 


379 ANOTHER PORTRAIT OF THE SAME WITH 
ALLEGORICAL FIGURES. 


Line-engraving after P. Mignard. Leblane No. 94. 


7) ae Fine impression with the inscription. The margin 
44 cut inside the engraved surface, a part of the border 
‘ is lacking at the top and it is entirely missing at the 


bottom. Slightly torn and folded. 


380 ANOTHER PORTRAIT OF THE SAMBH, with a 
decoration different from the preceding. 
l0- Line-engraving after P. Mignard. Very fine impres- 
sion with the artists’ names. With small margin show- 
in A. ing the plate-mark at the bottom and the sides, but 
; lacking it at the top. 


381 CARDINAL MAZARIN. 
Line-engraving after P. Mignard. Leblane No. 99. 
wb m~ Intermediate state between the first and the second. 
The engraving is completed, but the names of the 
Jude artists are still missing. Very fine impression, with 
small margin trimmed to the plate-mark. Folded and 

pressed out. 
From the Saar collection. 


382 JEAN BAPTISTE COLBERT. 


Line-engraving after P. Mignard. Fine impression 
Eas with the inscription. With margin trimmed to the 
an & engraved surface. Folded, pressed out and inlaid. 


NICOLAS DE POILLY. 
1626-1690. 


French painter-engraver, born in Abbeville. He was a pupil of his 
brother Francois and died in Paris. 


383 MARIE THERESE DE FRANCE. 
Line-engraving after Beaubrun. Leblanc No. 34. Very 


| ') ie fine proof before the inscription in the border. Trimmed 
to the engraved surface and remargined. Folded and 
A4 pressed out. 


384 JEAN JACQUES DE MESMES. 
Line-engraving after P. Mignard. Impression with 
do - the inscription. Trimmed to the engraved surface at 
the bottom and to the plate-mark at the top and sides. 
oLS; Folded and pressed out. 


From the Fontaine collection. 
73 


NICOLAS JEAN BAPTISTE DE POILLY. 
1712-? 


French painter-engraver, born in Paris. He was the son and pupil 
of Jean Baptiste Poilly. 


385 JACQUES VINCENT. 


ee Line-engraving after the artist’s own design. Leblanc 
3 No. 4. Impression with the inscription. With margin 
trimmed to the plate-mark. 


NICOLAS DE PLATTE MONTAGNE 
(van Plattenberg). 


1631-1706. 


French painter-engraver, born in Paris. He was a pupil of Ph. de 
Champaigne and of Jean Morin. He died in Paris. 


386 VINCENT BARTHELEMY. 


v Line-engraving after the artist’s own painting. 
7 . Robert-Dumesnil No. 19. Only one state. Very fine 
impression with the inscription. With small margin 

4A. showing the plate-mark. Inlaid in green paper. 


387 FRANCOIS I. 


Line-engraving after F. Clouet Janet. Robert- 

G —  Dumesnil No. 23. Only one state. Impression trimmed 

to the engraved surface at the top and sides, at the 

ey dor bottom a part of the engraving bearing the inscription 
has been cut off. Inlaid. 


388 PIERRE MONNEROT. 


50 Line-engraving after the artist’s own painting. 

ioe Robert-Dumesnil No. 27. Only one state. Good im- 
pression, the margin trimmed to the engraved surface 
and inlaid. Some tears in the engraving skilfully 
repaired. 


74 


PAUL PONTIUS (DU PONT). 
1603-1658. 


Dutch painter-engraver, born in Antwerp. He was a pupil of L. 
Vorsterman and engraved many plates after Van Dyck and Rubens. 
He died in Antwerp. 


389 PIETER PAUL RUBENS. 


Ls. 


Line-engraving after the painter’s own portrait. 
Andresen No. 18. Third state; with the words ‘‘et 
execudit’’ added after ‘‘sculpsit.’? Very fine impres- 
sion with the inscription. With margin showing the 
plate-mark. 


FERDINAND OF AUSTRIA. 


Line-engraving after P. P. Rubens. Andresen No. 19. 
Superb impression with the inscription. With large 
margin showing the plate-mark. 


ISABELLA CLARA EUGENTIA. 


Line-engraving after P. P. Rubens. Andresen No. 20. 
Superb impression with the inscription. With large 
margin showing the plate-mark. 


GASPAR GUZMAN COUNT OLIVAREZ. 


Line-engraving after Velasquez, the ornamentation 
after P. P. Rubens. Andresen No. 25. Second state; 
with the beard extending over the collar. Very fine 
impression with the inscription. With small margin 
trimmed to the plate-mark. Folded and pressed out. 


P. P. RUBENS AND A. VAN DYCK. 


Line-engraving after A. van Dyck. Andresen No. 26. 
Second state; the address of Huberti has been bur- 
nished out. Very fine impression with the inscription. 
With small margin showing the plate-mark. Folded 
and pressed out. 


From the collections of St. John Dent and Waller. 
75 


394 HENRY COUNT VAN DEN BERGHE. 
Line-engraving after A. Van Dyck. Andresen No. 30. 
be First state; before the address of Bonenfant. Very 
fine impression with the inscription. With small mar- 
fe 4. gin lacking the plate-mark. 
eae, From the St. John Dent collection. 


395 GASPARD GEVAERTS. 
50 Line-engraving after P. P. Rubens. Leblane No. 64. 
9. an Very fine impression with the inscription. With 
marein showing the plate-mark. 
396 CHRISTINE QUEEN OF SWEDEN. 
Line-engraving after A. Van Hulle. Superb impres- 
A —. sion with the inscription. With small margin trimmed 
a4 to the plate-mark. 


MARC ANTONIO RAIMONDI. 
1480-1528. 


Celebrated Italian painter-etcher. He was born in Bologna, was a 
pupil of Francisco Raibolini and was working in Bologna, Venice, and 
Rome, where he died. ‘‘Among collectors of the oldest engravings, 
Marcantonio is a great name, ranking with Albert Durer and Rem- 
brandt. . . . So exquisitely correct is the drawing of his figures that 
connoisseurs profess to see the magic hand of Raphael himself in those 
faultless outlines.’’—‘‘The Golden Age of Engraving.’’ 


397 THE JUDGMENT OF PARIS. 


‘Line-engraving after Raphael. Bartsch No. 245. 
Viet Second state. With ‘‘Aut. Sal. exe.,’’ which has been 
erased from this print. 


AA. MARS, VENUS AND CUPID. 


Line-engraving after a design of Montegna. Bartsch 
No. 545. A strip of the right lower edge cut off. 


ALSO FOUR OTHER ENGRAVINGS and etchings 
by G. Ghisi, I. Georgius, V. Lefebre and Salvator Rosa. 


398 CLEOPATRA. DIDO. LUCRETIA. POETRY. 
Si Four reproductions by Amand-Durand. 


444. 16 


ih ag 


b. - ' 


N{TY NVA LONVUGWAU Ad 
(LNIYd SYAGTIND GAYGNAH AHL) 
MOIS AHL ONITWAH LSTYHO 


REMBRANDT VAN RIJN. 
1607-1669. 


Painter and etcher, born at Leyden and died at Amsterdam. Pupil 
of Swanenburch and Pieter Lastman. His etched work comprises 
several hundred plates of varying interest and importance, but if he 
had left only one plate, ‘‘Christ Healing the Sick,’’ he would still be 
the master etcher of all times. 


399 JOSEPH AND POTIPHAR’S WIFE. 


tee 


Painter-etching. Bartsch No. 39. Hind No. 118. First 
state. The corner of the back of the bed has a heavy 
rounded outline. Fine impression, with a fine mellow 


tone, but closely trimmed to the border-line, which, 


however, is completely preserved. A small tear in the 
left lower corner carefully mended. 


From the A. Firmin Didot and J. Peoli collections. 


400 CHRIST HEALING THE SICK (The Hundred 


[400 
ty LW. 


Guilders Print). 


Painter-etching. Bartsch No. 74. Hind No. 236. 
Second state. Open lines of parallel shading are laid 
obliquely across the neck of the donkey. Fine impres- 
sion on heavy Japan paper with 15 mm. margin all 
around. Some of the lighter figures on the left are 
slightly smudged. Strips of Japan paper have been 
carefully pasted on all four edges either to prevent 
injury or for stretching the print in framing. 


EXXCEEDINGLY RARE IN SUCH FINE CONDITION. 


(See Illustration.) 


401 CHRIST BEFORE PILATE (The large upright plate). 


fo — 
MMe der 


Painter-etching. Bartsch No. 77. Hind No. 148. 
Third state. The right shoulder of the man next to 
Pilate, seen in the preceding state, is burnished out (so 
as more clearly to separate the man from his neighbor 
on the left). Closely trimmed on top and two sides, 
but not cut into the etched surface; below remains a 
margin of about 8 mm. Creased through the centre, as 
usual, also along the left edge, and pressed out; a few 
small repairs. 


VERY FINE AND BRILLIANT IMPRESSION. 


17 


402 THE THREE TREES. 


hie Painter-etching. Bartsch No. 212. Hind No. 205. The 
facsimile reproduction of the Reichsdruckerei, Berlin. 


403 LIEVEN WILLEMSZ VAN COPPENOL Writing- 
Master. (The larger plate.) 


. cael Painter-etching. Bartsch No. 283. Hind No. 300. The 
copy by Basan. Dutuit No. 258. Copy No. 2. With 
margin showing the plate-mark. 


AEGID ROUSSELET. 
1614-1686. 


French painter engraver, born in Paris, where he also worked. 


404 HENRI II DE BOURBON PRINCE DE CONDE. 


A eee Line-engraving after the artist’s own design. Leblanc 
No. 84. Only one state. Very fine impression with 
A. A. small margin trimmed close to the plate-mark. 


405 LOUIS XIV. 


5 Line-engraving after the artist’s own design. Im- 
3 pression with the inscription. With small margin 
showing the plate-mark. 


406 CARDINAL RICHELIEU. 


4 Line-engraving after the artist’s own design. Very fine 
impression before the inscription on the background. 
Qnedt’— With small margin showing the plate-mark. 


407 LES ARTS LIBERAUX. 


L’astrologie. La Dialectique. La Geometrie. La Gram- _ 


Ak maire. La Musique. La Retorique. L’aritmetique. 
Line-engravings after Huret. Impressions with the 

gn AE inscriptions. With small margins trimmed to the plate- 
marks. 


Very fine series, and interesting for the costumes of the 
period. 


From the L. Galichon Collection. (7) 
78 


oa 


i 
if 
& 
: 
: ) 
or 


AEGIDIUS SADELER. 
1575-16209. 


Dutch painter-engraver. Born in Antwerp, he went to the court of 


408 
ts hs 


409 


Austria and worked in Prague, where he died. 


PORTRAIT OF THE ENGRAVER. 


Line-engraving by G. Edelinck. Robert-Dumesnil No. 
305. First state; before all letters. Superb impression 
with margin trimmed to the plate-mark. 


EMPEROR RUDOLPH ILI. 


Line-engraving after Johan ab Ach. Andresen No. 24. 
Very fine impression with the inscription. With small 
margin showing the plate-mark. 


MATTHIAS EMPEROR OF GERMANY. 
Line-engraving after the artist’s own design. Andresen 
No. 26. Second state; the date has been changed from 
“MDCXIII”’ to ‘‘MDCXIIII.’’ Fine impression with 
the inscription. With small margin trimmed to the 
plate-mark at the bottom and the sides, but at the top 
it is cut closely to the engraved surface. Folded and 
pressed out. 


ANNA, CONSORT OF KING MATTHIAS. 


Line-engraving after the artist’s own design. Andresen 
No. 28. Third state. With Marco Sadeler’s address, 
but before the inscription had been changed to ‘‘Sacree 
ejus Casaree ..... ’? Very fine impression with the 
inscription. With small margin trimmed to the plate- 
mark. 


SIGISMUND BATHORY. 
Line-engraving after the artist’s own design. Andresen 
No. 30. Second state with Marco Sadeler’s address. 
Very fine impression with the inscription. With small 
margin showing the plate-mark. 


BARTHOLOMEW SPRANGER AND HIS WIFE. 
Line-engraving after B. Spranger. Andresen No. 38, 
Fine impression with the inscription. With margin 
trimmed to the engraved surface at the sides, at top 
and bottom closely to the plate-mark. Folded and 
pressed out. 


PIETER BREUGHEL the elder. 


Line-engraving after B. Spranger. Leblane No. 96. 
Very fine impression with the inscription. With small 
margin trimmed to the plate-mark. 


79 


JOHANN SADELER. 
1550-1610. 
Dutch painter-engraver. He was born in Brussels and died in Venice. 


415 OTTO HEINRICH, COUNT OF SCHWARZENBERG. 

. Line-engraving after the artist’s own design. Andresen 

Bhan No. 18. Very fine impression with the inscription. 

Trimmed to the engraved surface at top and sides, at 

AK. the bottom closely to the last line of the inscription. 
: Laid down. 


RAPHAEL SADELER, the elder. 
1555-1628. 
Dutch engraver. Brother of Johann. He was born in Bruxelles 
and died in Munich. 
416 CHARLES EMANUEL DUC DE SAVOIE. 


Line-engraving after Jean Carera. Leblanc No, 97. 
Brilliant impression with the inscription. With small 


ae margin lacking the plate-mark. 


PIETER SCHENK. 


1645-1715. 
Dutch painter-engraver, born in Elberfeld. He went to Amsterdam, 
where he worked and died. 


417 READING A LETTER. 
Mezzotint after Gerars. Very fine proof before the 
"q title. With small margin showing the plate-mark. 
PIETER VAN SCHUPPEN. 
1623-1702. 


Dutch painter-engraver, born in Antwerp. He was a pupil of Nanteuil 
and worked and died in Paris. 


418 ALEXANDRE VII. 


ees Line-engraving after P. Mignard. Leblane No. 1. Very 
fine impression with the inscription. With small margin 
AA» showing the plate-mark. 


419 JAMES FRANCIS EDWARD PRINCE OF WALES. 


Line- -engraving after N. de Largilliere. Leblane No. 2. 
ve "9 Superb impression with the inscription. With small 
margin showing the plate-mark. 


80 


- 


420 


425 
fa 


yn: 


426 
go 


CLAUDE BAZIN. 


Line-engraving after C. Le Febure. Leblanc No. 6. 
Very fine impression with the inscription. With margin 
showing the plate-mark. 


J. F. BORRI. 


Line-engraving after J. Orens. Leblanc No. 16. First 
state; before the ornamentation in the corners. Very 
fine proof with margin showing the plate-mark. 


JEAN BAPTISTE COLBERT. 


Line-engraving after Ch. Le Brun. Leblanc No. 27. 
Very fine impression with the artists’ names. With 
small margin lacking the plate-mark. A strip of an- 
other engraving about 114 in. wide has been pasted on 
the lower edge. 


LOUIS XIV. 


Line-engraving after N. Mignard. lLeblane No. 36. 
First state. Proof before letters and before the date 
was changed from 1661 to 1662. Superb impression 
with large margin. 


LOUIS XIV. 1666. 


Line-engraving after Ch. Le Brun. Leblane No. 43. 
First state. Bust in armor slightly turned to right 
looking to left in oval border, below a cartouche with 
the arms. On left side ‘‘Char. le Brun Pinx.’’ On 
right side ‘‘P. Van-Schuppen Sculpebat et ex. 1666.”’ 
Below this in the white space, between the last ‘‘6’’ of 
the date and the edge, the figure ‘‘8’’ traced with the 
needle. No other inscription. Fine impression on paper 
with monogram of Jesus. Trimmed closely to the en- 
eraved surface except at the bottom, where a very small 
margin is left. 


LOUIS XIV. 
Line-engraving after Charles Le Brun and N. Mignard. 
Leblane No. 44. Superb impression with small margin 
showing the plate-mark. Folded and pressed out. 


PHILIPPE D’ORLEANS. 
Line-engraving after C. LeFebure. lLeblane No. 47. 
Very fine impression with the inscription. With small 
margin lacking the plate-mark. In 3-inch frame with 
Louis XV ornamentations. 


81 


431 
4 


One 


ANNE MARIE LOUISE D’ORLEANS. 


Line-engraving after G. Seue. Leblane No. 49. Superb 
impression with the inscription. With margin show- 
ing the plate-mark. 

From the St. John Dent Collection. 


MAGNUS GABRIEL DE LA GARDIE. 


Line-engraving after D. Klooker. lLeblane No. 53. 
First state; before the inscription. Very fine impres- 
sion with margin trimmed to the plate-mark. 


MICHEL LE TELLIER. 


Line-engraving after R. Nanteuil. Leblane No. 74. 
Very fine impression with the inscription. With small 
margin lacking the plate-mark. 


CARDINAL MAZARIN. 


Line-engraving after Chauveau. Leblane No. 87. 
Very fine impression with the inscription. With mar- 
gin showing the plate-mark. Folded and pressed out. 


PORTRAIT UNKNOWN. 


Very fine proof. The name ofthe engraver erased 
from the impression. With very large margin. 


PIERRE SIMON le vieux. 


French painter-engraver, born in Paris. He was a pupil of Nanteuil. 


4314 PORTRAIT OF THE ENGRAVER. 


fo 
Lp. 


432 


“a 


433 
ees 


4A. 


Line-engraving by G. Edelinck after P. Ernon. 
Robert-Dumesnil No. 320. Second state. Very fine 
impression with the inscription. With large margin 
showing the plate-mark. 


JACOBUS AMPROU. 


Line-engraving after the artist’s own design. Impres- 
sion with the inscription. With large margin showing 
the plate-mark. Folded and pressed out. 


JEAN BAPTISTE COLBERT DE SEIGNELAY. 


Line-engraving after the artist’s own design. Leblane 
No. 18. Superb proof before all letters, with small 
margin showing the plate-mark. In 3-inch ornamented 
oak frame. 

82 


434 LOUIS XIV. 


Line-engraving after Ch. LeBrun. lLeblane No. 15. 
3A ad First state; before the dedication and the date where 


burnished from the plate. Fine impression with the 
AA : inscription. With small margin trimmed to the 
plate-mark. 


435 PAUL DE GODET DES MARAIS. 
Line-engraving after F. Andreas. Leblanc No. 24. 
CS Very fine impression with the inscription. With large 


on #- margin showing the plate-mark. Folded and pressed 
; out. 


486 ANNE MARIE LOUISE DUCHESSE DE MONT- 
PENSIER (ealled La grande mademoiselle). 
| 7 a Line-engraving after the artist’s own design. Leblane 


No. 26. Very fine impression with the inscription. With 
Pour small margin lacking the plate-mark. Folded and 
pressed out. 


437 JEAN PAUL OLIVA. 


Line-engraving after G. G. Gaulli. Very fine impres- 
sion with the inscription. With large margin showing 
the plate-mark. Folded and pressed out. 


a 


JOHAN VAN SOMER. 
1645-? 
Dutch painter-engraver, born in Amsterdam. He worked mostly 
in mezzotint. 


4388 MICHEL ADRIANTSZ DE RUYTER. 


Mezzotint after Ch. du Jardin. Leblanc No. 19. First 
. state; with the title in open letters. Very fine impres- 
sion, with margin trimmed to engraved surface at top 
Wr dAVe and sides, at bottom just under the artists’ names. 
Folded and pressed out. 


PIETER VAN SOMPEL. 
1600-? 
Dutch painter-engraver, born in Antwerp. Pupil of P. Soutman. 


439 GUSTAVE DUC D’ORLEANS. 
Line-engraving after A. Van Dyck. Leblane No. 24. 


eee First state; before the number. Very fine impression 
with the inseription. With small margin showing the 
ed plate-mark. 


83 


PIETER SOUTMAN. 
1580-1657. 


Dutch painter-engraver, born in Harlem. He was a pupil 
of P. P. Rubens. 
440 JOHN MAURICE OF NASSAU. 


ie Line-engraving after G. Honthorst. Andresen No. 17. 
b Very fine impression with the inscription. With large 
Be margin showing the plate-mark. 


441 LOUISE CHRISTINE DE BREDERODE. 


Line-engraving after G. Honthorst. Andresen No. 19. 
f Spe Fine impression with the inscription. With small mar- 
BY gin trimmed to the plate-mark. 


F. STUERHELT. 


Painter-engraver, who was working in Amsterdam towards 1660. 


442 JOHN CALVIN IN HIS LIBRARY. 


Line-engraving after the artist’s own design. Andresen 
as No. 2. Impression with the inscription. With margin 
WY, a showing the plate-mark. Very fine. 


JONAS SUYDERHOEF. 
1600-1669(?) 


Dutch painter-engraver, born in Leyden. Pupil of P. Soutman. 


443 ALBERT ARCHDUKE OF AUSTRIA. 


a Line-engraving after P. P. Rubens. Leblane No. 14. 
4 ; First state; before the number. Very fine impression 
IK with the inscription. With small margin lacking the 
a plate-mark. 


444 ISABELLA CLARE EUGENIA, Infanta of Spain. 
y Line-engraving after P. P. Rubens. Leblane No. 32. 


J First state; before the number 13. Very fine impres- 
}- sion with the inscription. "With margin showing the 
a { plate-mark. 


445 MARTIN VAN TROMP. 


ae: Line-engraving after H. Pot. Andresen No. 43. First 

b state; with the cannon balls. Fine impression with 

Sys dir— the inscription. With small margin lacking the plate- 
mark. 6 


HENRI SIMON THOMASSIN. 
1655-1733- 
Painter-engraver, born in Paris, where he died. 


446 MARIE ADELAIDE DE SAVOIE. 
gh Line-engraving after the artist’s own drawing. Leblane 
ea No. 11. Very fine impression with the inscription. 
4/. With large margin showing the plate-mark. 


447 FRANCOIS MUGUET. 
Line-engraving after Simon Dequoy. Fine impression 
Sie with the inscription. With margin trimmed to the 
be f plate-mark. . 


PHILIPPE THOMASSIN. 
1526-1606. 
French painter-engraver, born in Troyes. He was a pupil 
of C. Cort and was working in Rome. 


448 HENRI IV. 


ge - Line-engraving after the engraver’s own design. Im- 
pression with the inscription. The margin cut to 
9, #. engraved border. Laid down. 


WALLERANT VAILLANT. 
1623-1677. 
Dutch painter-engraver, born in Lille. He was one of the early 


mezzotint engravers and died in Amsterdam. The friend of Prince 
Rupert, whose plates he printed. 


449 PORTRAIT OF THE ENGRAVER TO THE RIGHT. 


oo _ Mezzotint after his own drawing. Wessely No. 4. Only 
vi y; one state. Fine impression with the inscription. With 
4B. large margin showing the plate-mark. 


450 THE ENGRAVER’S WIFE. 


50 Mezzotint after the artist’s own design. Wessely No. 6. 
4 eae First state; before the plate was reduced in size. Im- 

pression with the margin trimmed to the plate-mark. 
yude Tnlaid. 


85 


451 


THE ENGRAVER’S WIFE WITH THE HANDS 
CROSSED. 


Mezzotint after the artist’s own design. Wessely No. 
7. Second state; the plate reduced and the inscription 
space cut off. Impression with margin trimmed to the 
plate-mark, Two small tears in the lower corners. 


THE YOUNG MAN IN FRONT OF THE STATUE 
OF CUPID. | 
Mezzotint after the artist’s own design. Wessely No. 
21. Only one state. Impression with the inscription 
and small margin showing the plate-mark. 
From the A. A. Weston Collection. 


THE LITTLE GIRL WITH THE DOG. 


Mezzotint after the artist’s own design. Wessely No. 
152. Second state; with the artist’s name. Fine im- 
pression with the inscription. With small margin 
showing the plate-mark. 


MADAME VAILLANT? 


Mezzotint after the artist’s own design. Unknown to 
Wessely. Very fine impression with large margin. 
Showing the plate-mark. 


GERARD VALCK. 
1626-1680. 


Dutch engraver, born in Amsterdam; pupil of Blooteling. 


WILLIAM III OF ENGLAND. (To the right.) 
Mezzotint after the artist’s own design. Impression 


with the inscription. With small margin trimmed to 
the plate-mark. Folded and pressed out. 


ANOTHER PORTRAIT OF THE SAME. (To the 
left.) 

Mezzotint after the artist’s own painting. Fine im- 

pression with the inscription. With small margin 

trimmed to the plate-mark. 


86 


Ee eS ee Pe ee ee ee ee 


ig ee LT ee ae Ea ee eee me 


Pt C0 ee ae aaeT 


457 EUGENE FRANCOIS PRINCE DE SAVOIE. 


Line-engraving after M. Merian. Leblane No. 21. 
haa Impression with the inscription. With small margin 
lacking the plate-mark. Folded and laid down. 


458 LOUIS XIV. ROI DE FRANCE. 


Mezzotint after the artist’s own design. Leblane No. 35. 
tam Fine impression with the inscription. With margin 
Od - trimmed to the plate-mark. 


CORNELIS VAN DALEN. 
1613-2 


Dutch painter-engraver, born in Antwerp. He was a pupil 
of Cornelis Visscher. 


459 JAMES II DUKE OF YORK. 


Line-engraving after S. Luttichuys. Leblane No. 17. 

some Very fine proof before all letters. With small margin 

Quedere lacking the plate-mark at top and sides but showing it 
at the bottom. Folded and pressed out. 


460 HENRY DUKE OF GLOUCESTER. 


Line-engraving after S. Luttichuys. Leblane No. 24. 
ae Fine proof before all letters. With margin trimmed 


Teeppl to the plate-mark. 


461 CHARLES IIT OF ENGLAND. 


4 _ Line-engraving after P. Masson. Impression with the 
pean! _ margin cut to the engraved surface and laid down. 


462 JACOB CORNELISZ. 7 gy. Vaalop 
Line-engraving after @-=de—Vasseher. Very fine im- 
ae pression with the inscription. With margin showing 
fh the plate-mark. 
$./- 87 


FRANS VAN DEN STEEN. 
1604-2 : 
Dutch painter-engraver, born in Amsterdam. He was still 
working in 1660. 


463 CUPID MAKING HIS BOW. 
ss Line-engraving after a drawing by N. Van Noy, 
Age after the painting by Correggio. Leblanc No. 36. Very 
fine impression with the inscription. With very large 
margin. 


464 DUKE AND DUCHESS OF BRABANT. 


_.___Line-engraving after P. P. Rubens. Very fine impres- 
6 sion with the inscription. With margin showing the 


7 gh plate-mark. 


CRISPIN VAN DE PASSE, the elder. 
1540-1629. 


Dutch painter-engraver. He was a pupil of Th. Coornhaert and worked 
in Holland, France and England. He died in Utrecht. 


465 QUEEN ANNE. 
Eh Line-engraving after the engraver’s own design. 
Franken No. 445. Very fine impression with the in- 
scriptions. With margin showing the plate-mark. 


yr 


466 QUEEN ELISABETH. 

a Line-engraving after the engraver’s own design. 
Ht Franken No. 567. Very fine impression with the in- 
joppe scription. With margin showing the plate-mark. 


467 ANOTHER PORTRAIT OF THE SAME PERSON- 
AGE. 


_-  Line-engraving after Isaac Olivier. Franken No. 569. 
210 Superb impression with the inscription with margin 
showing the plate-mark. In one inch black frame with 
5 ae gilt ornaments. 
(See Illustration.) 


468 ANOTHER PORTRAIT OF THE SAME PERSON- 
AGE. 


40 Line-engraving after the engraver’s own design. 
Franken No. 570. The only state described. Very 
fine impression with the inscription and margin show- 

‘ ing the plate-mark. 
88 


‘POSVI DEVM ADIVIFOREM MEVM 


| AMirtan ame 


Dil serl CorDI a. 


? CNere parse ys 
ane C 
MOXXX! z I: 
6. fd. Sope. 


ABET | D. GANGLIAE, FRANCIAE, HIBERNIAE,ET VERGINIAE REGINA 
IDEI ee PROPVGNATRIX ACERRIMA .NVNCIN DNO REQVIESCENS 
2 fore tne me eT ee tollat 


QUEEN ELIZABETH 
BY CRISPIN VAN DE PASS 


[NUMBER 467] 


vars 

4 
ove 

Re I ae 


469 ANOTHER PORTRAIT OF THE SAME PERSON- 
AGE. 
$0, Line-engraving after the engraver’s own design. 
/ 7 Franken No. 571. Very fine impression with the in- 
scription. The margin trimmed to the engraved sur- 
face at top and sides, at the bottom inside the plate- 
mark. Laid down on bristol board. 


470 OTHO HEURNIUS. 

a: Line-engraving after N. Negre. Franken No. 659. 
Third state; with Lauwick’s address. Superb impres- 

A sion with the inscription. With large margin. 


471 MARGARET OF AUSTRIA. 
Line-engraving after the engraver’s own design. 
7#t~ Franken No. 733. Fine impression with the inscrip- 
tion. The margin trimmed to the plate-mark. The 
fiw engraving has been stretched. 


SIMON VAN DE PASSE. 
1574-1644. 


Dutch painter-engraver, born in Cologne. He was the son of Crispin, 
the elder, and worked in France, Germany, England and Denmark. 


472 MARGUERITE DE VALOIS. 
. Line-engraving after the engraver’s own design. 
| nude Franken No. 734. Very fine impression with the in- 
scription. With small margin showing the plate-mark. 


4738 QUEEN ANNE. 
Line-engraving after the engraver’s own design. 
eee Franken No. 448. Good impression with the inscrip- 
Hr } - tion. With margin trimmed almost to the plate-mark. 


474 LUCIA HARINGTON COUNTESS OF BEDFORD. 
Line-engraving after the engraver’s own design. 
"ede Franken No. 475. Fine impression with the inscrip- 
QyodtA tion. With small margin showing the plate-mark. 
Laid down on account of worm holes, and inlaid. 


475 COUNT GONDOMAR, SPANISH AMBASSADOR TO 
ENGLAND. 
Sot Line-engraving after the engraver’s own design. 
Franken No. 630. First state; before Jenner’s ad- 
WMedVr —avess, Very fine impression with the inscription. With 
small margin lacking the plate-mark. 
89 


WILLEM VAN DE PASSE. 
1572-? 


Dutch painter-engraver, born in Utrecht. He was a son of Crispin 
de Passe the elder and worked in London. 


476 JAMES THE I AND PRINCE HENRY. 


Line-engraving after the engraver’s own design. 

(Mel Franken No. 688. Second state; the king and prince 

are holding skulls in their hands. Very fine impres- 

fowl sion with the inscription. With small margin lacking 
the plate-mark. Folded and pressed out. 


PIETER VAN DER BANCK. 


1649-1697. 
French painter-engraver, born in Paris. He was a pupil of Francois de 
Poilly and was working in Paris and London, where he died: 


477 Sr THOMAS ALLEN. 


ete Line-engraving after G. Kneller. Fine impression with 
4H the inscription. With small margin lacking the plate- 
20 mark. 


478 LOUIS XIV. 


Line-engraving after G. Kneller. Very fine impression 
Loe with the inscription. With small margin lacking the 


AA _ plate-mark. 


JAN VAN DE VELDE. 
1598-after 1679. 


Painter, engraver, and etcher; pupil of M. van Uytenbroeck. He 
engraved a number of very effective night-pieces in the manner of 
Count de Goudt, which are eagerly sought by the collector. 


479 THE SORCERESS. 1626. 


Painter-engraving. Andresen No. 14. First state; 
io before Schagen’s address. Fine impression on Rem- — 
ee brandt paper, with the water-mark ‘‘crowned shield 
with lily and below it the monogram WR.’’ With 
margin showing the plate-mark. 
From the Robert Hoe Collection. 


90 


480 THE STAR OF THE KINGS. 


Line-engraving after P. Molyn. Andresen No. 18. 
3 40 a First state; before the address of J. C. Visscher and 
Ss toppek before the name of the engraver. With small margin, 
i but showing the plate-mark. VERY FINE AND RARE. 
From the Robert Hoe Collection. 


481 CHILDREN DANCING IN FRONT OF A HOUSE. 


a 19 _ Line-engraving after P. de Molyn. Andresen No. 19. 
Bo Second state; with J. C. Visscher’s address. Closely 


ed ~— trimmed. Rane. 
a | From the Robert Hoe Collection. 
a. 482 BOOKPRINTING IN HARLEM IN 1440. 


ae Line-engravings after P. Saenredam. Fine impressions 
e $ with the inscriptions. With margins trimmed to the 


AM plate-marks (2). 


From a collection not mentioned by Fagan. 


JAN VAN HALBEECK. 
?-about 1630. 


Dutch engraver, who worked in Paris and afterwards 
at Copenhagen. 


483 LOUIS XIII KING OF FRANCE. 


io Line-engraving after the engraver’s own design. 
Leblane No. 13. Very fine impression with the inscrip- 
tion. With small margin lacking the plate-mark. 


ADRIAEN VAN OSTADE. 
1610-1685. 
Painter-etcher. Pupil of Frans Hals and Adriaen Brouwer. 
484 THE VENDER OF SPECTACLES. 


This and the others in this lot are painter-etchings or 
50 copies thereof. Rovinski No. 29. Seventh state. Also 
a the copy by D. Deuchar. 


THE SPINNER. Anonymous eopy of Rovinski No. 31. 


THE BREAKFAST. Rovinski No. 50. Eleventh state. 
Laid down on account of a tear. (4) 


91 


JEAN VEENHUYSEN. 


1660-? 


Dutch painter-engraver, who was working in Amsterdam. 


485 VICE ADMIRAAL VOLKHARD SCHRAM. 


Le) Line-engraving after the artist’s own design. Leblanc 
3 No. 1. Very fine impression with the inscription. 
With small margin showing the plate-mark. Folded 

Br H : and pressed out. 


JOHANNES VERKOLJE. 
1650-1693. 


Dutch painter-engraver, born in Amsterdam. He worked in Delft, 
where he produced mezzotints. 


486 CORNELIUS VAN AKEN. 
eae Mezzotint after the artist’s own design. Wessely No. 
1. Only one state. Very fine impression with the 
HL } : inscription. With margin trimmed to the plate-mark. 


487 JAMES DUKE OF YORK. 

es Mezzotint after P. Kneller. Wessely No. 10. First 
if state; with the inscription. Very fine impression. 
Ade - With margin showing the plate-mark. Some tears 
“~~ <- yepaired and laid down. 


488 JAMES II KING OF ENGLAND. 


Mezzotint after P. Kneller. Wessely No. 10. Second 

A — state; the inscription is changed to ‘‘James II By the 

oe Grace of God,’’ etc. Very fine impression, with small 
- margin showing the plate-mark. 


489 WILLIAM III OF ENGLAND. 


Mezzotint after the artist’s own design. Wessely No. 
22. First state; proof before all letters. Very fine 
yd impression, with margin trimmed to the plate-mark. 


92 


fix 


a NICOLAAS VERKOLJE. 
r 1673-1746. 


Dutch painter-engraver, born in Delft. Son of Jan the older 
and like him engraved mezzotints. 


490 BERNARD PICART. 


/ es Mezzotint after J. M. Nattier. Wessely No. 7. Third 
state; with the inscription on the engraving which 

lies on the table. Very fine impression with the in- 
scription. With large margin showing the plate-mark. | 


491 THE FORTUNE TELLER. 


Mezzotint after the artist’s own design. Wessely No. 
pr 29. Second state with the artist’s and publisher’s 
names. Very fine impression with margin trimmed 

Lounrlf to the plate-mark. 


CORNELIS VISSCHER. 
1620-1670. 
One of the most celebrated Dutch painter-engravers. 


492 THE CAKE-BAKER. 


Line-engraving after the artist’s own design. Dutuit 

[s- - No. 42. Third state. With the cross-hatching on the 
hand of the old woman, but before the name of 
‘‘Clemendt de Jonghe.’’ Very fine impression with 
the artist’s name. With margin trimmed to the en- 
graved surface at top and sides. At the bottom it 
shows the plate-mark. 


493 THE RAT CATCHER. 


Line-engraving after the engraver’s own design. 
/ 1 Dutuit No. 43. Third state with the coat of arms, the 
| words ‘‘et exe A° 1655’’ on the wall to the right, but 
before any inscriptions in the margin. Magnificent 
Hipp impression with margin showing the plate-mark in a 
2-inch marquetry frame with gilt inside. 
From the collection Fagan No. 179. 


494 ANOTHER ENGRAVING OF THE SAME. 


Line-engraving by D. Vrydag after C. Visscher. Very 
3 eo fine impression with the artists’ names and with margin 
showing the plate-mark. 


93 


) 


495 A YOUNG BOY AND A GIRL HOLDING A RAT- 
TRAP. 


5 Line-engraving after the engraver’s own design. 
Dutuit No. 45. With the cross-hatching on the chin 

MW jU- of the boy. Fine impression with margin trimmed 
almost to the engraved surface. 


496 QUEEN ARTEMISIA. 


eva Line-engraving after Parmigianino. Dutuit No. 51. 
First state; proof before all letters. Magnificent im- 
A. fh. pression with large margin. 


497 STROLLING MUSICIANS. 


Line-engraving after A. Van Ostade. Dutuit No. 80. 
Vg Paes Second state; before the address of C. de Jonghe. 
Superb impression with the artists’ names. With mar- 

SoA gin showing the plate-mark. 


498 GELLIUS DE BOUMA. 


Line-engraving after the artist’s own design. Dutuit 
Vas Re No. 89. Second state with the writing on the book, 
but before the date. Very fine impression with the 
pry inscription. With large margin showing the plate- 
: mark. 
From the Calamatta Collection. 


499 JOOST VAN DEN VONDEL. 
Line-engraving after the engraver’s own design. 
gs ™ _Dutuit No. 120. Second state with the statue of 
Religion in place of the Faun, and with the writing on 
Ip - the paper in his hand. Superb proof with margin 
: showing the plate-mark. 


500 MARIA, DAUGHTER OF CHARUES I. 


Line-engraving after G. van Hondt-horst. Dutuit No. 
/ 139. Only one state. Very fine impression with the 
wt j inscription. With very large margin. 


> a) 


From the collection of Dr. Franken. 
94 


501 CHRISTINE QUEEN OF SWEDEN. 


‘a KA Line-engraving after De Beck. Dutuit No. 142. Very 
4 fine impression with the inscription. With margin 
showing the plate-mark. 


502 THE OLD COQUETTE. 


<a Line-engraving ascribed to C. Visscher. Very fine proof 
Boe. 6 ee before all letters with margin trimmed to the engraved 
a surface at top and sides, but showing the plate-mark 


AY f at the bottom. The lower right corner has been re 
i ia paired and the engraving inlaid. 


JAN VISSCHER. 
1636-1692. 


Dutch painter-engraver, born in Amsterdam and brother of Cornelis. 


003 PORTRAIT OF THE ENGRAVER. 


ae ' Engraving in crayon manner by E. van Norde. Im- 
pression with the inscription. With small margin lack- 
ing the plate-mark. 


004 VICE ADMIRAEL ABRAHAM VAN DER HULST. 


.  laine-engraving after the artist’s own design. Leblane 

“f No. 8. Very fine impression with the inscription. With 

yyw: margin showing the plate-mark at the sides, trimmed 
; closely to it at top and bottom. 


LAMBERT VISSCHER. 
1633-? 
Dutch painter-engraver, born in Amsterdam; brother of Cornelis 
and Jan Visscher. 
505 D. Ht. CORNELIS TROMP. 


g — lLine-engraving after F. Bol. Leblanc No. 17. Fine 
impression with the inscription. With margin trimmed 
4A. to the engraved border. 


95 


ROBERT VAN VOERST. 
1610-1669. 


Dutch painter-engraver, born in Arnheim. He worked and 
died in London. 


506 SIR GEORGE CAREW. 
AOE Line-engraving after A. van Dyck. Fine impression 
a with the inscription. With margin trimmed to the en- 
BY. graved surface at top and sides showing the inscription 
space at the bottom. 


507 ERNST COUNT MANSFELD. 


Line-engraving after A. van Dyck. Leblane No. 12. 

3S — Second state; with the title. Very fine impression with 
the inscription. With small margin showing the plate- 
mark. 


508 WILLIAM HERBERT EARL OF PEMBROKE.. 
Line-engraving after the artist’s own design. Very fine 


if hagas impression with the inscription. With small margin 
showing the plate-mark. 
Ie Ae From the A. Morrison collection. 


LUCAS VOSTERMAN, the elder. 
11578-1667. 


Dutch -painter- engraver, born in Antwerp. He was a pupil of 
P. P. Rubens and died in Bommel. , 


509 CHARLES I. 


a Line-engraving after A van Dyck. Leblane No. 4. 
oe) Fine impression with the inscription. With small 
Ow margin lacking the plate-mark. 
. From a collection with a mark in handwriting not men- 
tioned by Fagan. 


» 
= 


510 LE CONNETABLE DE BOURBON. 


se Line-engraving after Titian. Leblane No. 9. Very fine 
oa impression with the inscription. With margin showing 


Sued the plate-mark. 


96 


511 NICOLAS ROCKOX. 


Line-engraving after A. Van Dyck. Leblane No. 72. 
50. First state. Proof before all letters and before the 
names of ‘‘Plato’’ and ‘‘Seneca’’ on the edges of the 
pode two volumes. Very fine impression, with small mar- 
gin trimmed to the plate-mark. The lower left corner 
torn. 


b 


012. LA CHUTE DES ANGES REBELLES. 


Line-engraving after P. P. Rubens. Leblane No. 79. 
iz First state; before Huberti’s address. Fine impres- 
/ sion with the inscription. With margin trimmed to 
the engraved surface at the top and sides inside the 
plate-mark at the bottom. The upper right corner has 

been torn and repaired. 


518 TRIC TRAC PLAYERS. 

Line-engraving after A. de Coster. Leblane No. 141. 

First state. Very fine impression with the artists’ 

names only. With margin showing the plate-mark. 
From the collection of Dr. W. A. Ackermann, 


io: 


Lh. 


ANTHONIE WIERIX. 


1555-? 
Dutch painter-engraver, born in Antwerp, where he produced 
most of his plates. 


514 QUEEN ELIZABETH. 
Liine-engraving after the engraver’s own design. 
oo Alvin No. 1892. First state; before the address of 
A Hieronymus Wierix. Superb impression with the 
aol inscription. The margin trimmed to engraved border 
and the print inlaid. 


HIERONYMUS WIERIX. 
1550-1619. 
Dutch painter-engraver, and brother of Anthonie. He was born 
in Antwerp, where he produced most of his plates, 

515 SAINT BENOIT. 
Line-engraving after the engraver’s own drawing. 
a Alvin No. 859. Very fine impression with the inscrip- 
AA tion. With large margin. 
7 97 


516 SAINT CHARLES BOROMEE. 


Line-engraving after the engraver’s own drawing. 
/—, 4 Alvin No. 1869. Superb impression with the inserip- 
AA - tion. With large margin. 


517 HENRI III. 
Line-engraving after the engraver’s own design. Alvin 


FON No. 1919. Superb impression with the inscription. 
JapP’ With margin trimmed to the plate-mark. 


518 MICHEL DE L’HOPITAL. 

De Line-engraving after the engraver’s own design. The 
as frame-work engraved by LeBlon. Alvin No. 1931. Very 
Ss fine impression with the inscription. With margin 

trimmed to the plate-mark. 


519 PHILIPPE II ROI D’ESPAGNE. 
_  line-engraving after Hans van Luyck. Alvin No. 
} 4S 2004. First state; before the artists’ names in the 
background above the shoulder. Fine impression with 
the inscription. The margin trimmed to the engraved 
Whe surface at top and sides, at the bottom inside the plate- 
mark. 


JAN WIERIX. 


1549-? 


Dutch painter-engraver, born at Antwerp or Amsterdam and 
was working in Antwerp. 


520 HENRIETTE DE BALZAC D’ENTRAGUES. 

iy Line-engraving after the artist’s own design. Alvin 

5” No. 1860. Second state; with the address of Paules de 
/ 4 . la Houve. Very fine impression, with small margin 

dr trimmed to the plate-mark at the sides, showing it at. 
Sut the top and bottom. 


521 MARIE DE MEDICIS. 


a A reversed copy of the portrait of Henriette de Balzac. 
{> Very fine impression, with margin trimmed to the 
gwd plate-mark. 


98 


522 KING JAMES AND QUEEN ANNE. 

. £0 Line-engraving after the engraver’s own design. Alvin 
| a eee No. 1956. Very fine impression with the inscription. 
aM Io Be ' With margin trimmed to the plate-mark. 


523 MARIE DE MEDICIS. 
Line-engraving after the engraver’s own design. Alvin 
wo No. 1979. Second state; with the cross-hatching over 


the artist’s name. Very fine impression with the 
Kopp inscription. With margin showing the plate-mark. 


From the P. Mariette collection. 


y 


PETER WILLIAMSON. 


English engraver. Pupil of D. Loggan, who was working in 
London towards 1680. 


524 QUEEN CATHERINE. 


GS - Line-engraving after the artist’s own design. Leblanc 
No. 2. Very fine impression with the inscription. With 
margin showing the plate-mark. 


525 HONORABLE MILDMAY EARL OF WESTMOR- 
LAND. 
J Line-engraving after J. B. N. Caulfield, page 105. 
Very fine impression, with the inscription and small 
Qed margin showing the plate-mark. 
From the E. W. Martin Collection. 


Pah EN BR EN SONG NO LOND | LOAGAS ese NOS e se 198 3 
e a 
@ THE ANDERSON GALLERIES nc (9 
) 8 THE ANDERSON AUCTION COMPANY hd 
r a MADISON AVENUE AT FORTIETH STREET ane by Nae 
9 NEW YORK con 
ry te REG > , 
ky EXTRACT FROM THE WILL OF EDMOND DE GONCOURT oe b n 
e | [TRANSLATED] e c a 
e q My wish is that my Drawings, my. Prints, ay aye , 
4 Curiosities, my Books—in a word these things ai i Q : 
= art which have been the joy of my life— shall not | . é fe 
Ld be consigned to the cold tomb of a museum, and sub- ai ie} 
Bl jected to the stupid glance of the careless passer-by; a ial 
5 but I require that they shall all be dispersed under ae ian 
ry the hammer of the Auctioneer, SO that the pleasure | i 
Ka which the acquiring of each one of them has given 


NON S: 


w 


i = *~ 
a\at 
re : nT os 


Wi 


ye 


me shall be given again, in each case, to some inheri- 


4 tor of my own tastes. OBS 
Bi | GE 
a! Pa 
Ld ee 
rf SALE OF THE ROBERT HOE LIBRARY sae 
B! Part I. April 24-May 5, 1911 $997,366.00 Ig 
Ud Part II. January 8-19, 1912 471,619.25 [[} 
=- ‘ e : H “EBal 
0 Part III. April 15-16, 1912 | | 200,150.50 iam 
ry Part IV. November 11-22, 1912 262,920.85 Pa 
| B Total, $1,932,056.60 [] - 
oF By G 
-_ As 
iG GT GGG erateara aaa ‘avaveveva ay ata x 7m 


